[E  GHOST  BREAKER 

>AUL  DICKEY  »nd  CHARLES  GODDARD 


FRENC  «5  STANDARD  UHRARY  EDITION 


alifornia 

,rional 

ility 


STACK 
ANNEX 


UEL  FRENCH,  25  West  45th  St.,  New  York 


Pollyanna 


The  glad  play,  by  Catherine  Chlsholm  Cushlng1,  alter  tbe 
novel  by  Eleanor  H.  Porter.  5  males,  6  females.  2  Interiors. 
Costumes,  modern.  Plays  2%  hours.  An  orphan  girl  Is  thrust 
Into  the  home  of  »  maiden,  aunt.  In  spite  of  tbe  trials  that 
beset  her,  she  manages  to  find  something-  to  be  glad  about,  and 
brings  light  into  sunless  lives.  Finally  Pollyanna  straightens 
out  the  love  affairs  of  her  elders,  and  finds  happiness  for  herself 
in  Jimmy.  "Pollyanna"  gives  a  better  appreciation  of  people 
and  the  world.  It  reflects  the  humor  and  humanity  that  gave 
the  story  such  wonderful  popularity  among  young  and  old. 

Produced  in  New  York,  and  for  two  seasons  on  tour.  Koyalty, 
$25.00.  Price,  75  cents. 

Martha  By-the-Day 

An  optimistic  comedy  in  3  acts,  by  Julie  M.  Lippmann,  author 
of  the  "Martha"  stories.  5  males,  5  females.  3  interior*.  Cos- 
tumes, modern.  Plays  2Vi  hours. 

Full  of  quaint  humor,  old-fashioned,  homely  sentiment,  the 
kind  that  people  who  see  the  play  will  recall  and  chuckle  over 
tomorrow  and  the  next  day. 

Miss  Uppmann  has  herself  adapted  her  successful  book  for 
the  stage  and  has  selected  from  her  novel  the  most  telling 
incidents.  Infectious  comedy  and  homely  sentiment  for  the 
play,  and  the  result  is  thoroughly  delightful.  Royalty,  $25. 
Price,  60  cents. 


Seventeen 


A  comedy  of  youth,  in  4  acts,  by  Booth  Tarldngton.  8  ma)*s, 
6  females.  1  exterior,  2  interiors.  Costumes,  modern.  Plays 
2%  hours. 

It  is  the  tragedy  of  William  Sylvanus  Baxter  that  he  has 
ceased  to  be  sixteen  and  is  not  yet  eighteen.  Seventeen  is  not 
an  age,  it  Is  a  disease. 

In  his  heart  William  knows  all  the  tortures  and  delights  of 
love.  But  be  is  still  sent  by  Ids  mother  on  errands  of  the  most 
humiliating  sort  and  depends  on  his  father  for  every  nickel, 
the  use  of  which  he  must  justify  before  he  gets  It. 

"Silly"  Bill  fell  In  love  with  I^>la,  the  "Baby-Talk  iJady," 
»  vapid  little  Girt.  To  woo  her  in  a  mnnner  worthy  of  himtielf 
(and  of  her)  he  steals  his  father's  evening  clothes.  When  hi* 
irooings  become  a  nuisance  to  the  neighborhood,  hi«  molher 
steals  them  back,  and  has  them  let  out  to  fit  the  middle-aged 
form  of  her  husband,  thereby  keeping  William  at  home. 

But  when  it  comes  to  the  "Baby-Talk  I-adyV  good-bye 
dance,  not  to  be  present  was  unendurable.  Now  William  aftuin 
gets  the  dress  suit,  and  how  he  wears  it  at  the  party,  and 
Genesis  discloses  the  fact  that  the  proud  garment  is  in  reality 
his  father's  makes  up  the  story  of  the  play. 

"Seventeen"  is  a  work  of  exquisite  human  sympathy  and 
delicious  humor.  Royalty,  925.00.  Price,  75  cents. 

FRENCH,  85  West  45th  Street,  New  Tork  City 
New    aud    Explicit   Descriptive    Catalogue    Mailed 
Free   en    Bequest 


The  Ghost  Breaker 

A  MELODRAMATIC  FARCE  IN  FOUR  ACTS 

BY 
PAUL  DICKEY  AND  CHARLES  GODDARD 


Copyright,   1909,  by   Charles   W.   Goddard  and  Paul   Dick»y 
Copyright  assigned,   1914,  to  Sanger  &  Jordan 


ALL  RIGHTS  RESERVED 

CAUTION:  Professionals  and  amateurs  are  hereby  warned  that 
"THE  GHOST  BREAKER,"  being  fully  protected  under  the 
copyright  laws  of  the  United  States,  the  British  Empire,  and 
the  other  countries  of  the  Copyright  Union,  is  subject  to  a 
royalty,  and  anyone  presenting  the  play  without  the  consent  of 
the  owners  or  their  authorized  agents  will  be  liable  to  the  pen- 
alties by  law  provided.  Applications  for  the  amateur  acting 
rights  must  be  made  to  Samuel  French,  25  West  45th  Street, 
New  York,  N.  Y. 


New  York: 
SAMUEL  FRENCH 

Publisher 
25  West  45th  Street 


London : 

SAMUEL  FRENCH,  LTD 

26  Southampton  Street 

Strand 


on  this  pky  payable  to  oui 
Lor 

SAJ   ._.. 

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'*'•«"" 


"THE    GHOST    BREAKER" 
All  Rights  Reserved 


Especial  notice  should  be  taken  that  the  possession  of  this 
book  without  a  valid  contract  for  production  first  having 
been  obtained  from  the  publisher,  confers  no  right  or 
license  to  professionals  or  amateurs  to  produce  the  play 
publicly  or  in  private  for  gain  or  charity. 

In  its  present  form  this  play  is  dedicated  to  the  reading 
public  only,  and  no  performance,  representation,  produc- 
tion, recitation,  public  reading  or  radio  broadcasting 
may  be  given  by  amateurs  except  by  special  arrangement 
with  Samuel  French,  25  West  45th  Street,  New  York. 

This  play  may  be  presented  by  amateurs  upon  payment 
of  a  royalty  of  twenty-five  dollars  for  each  performance, 
payable  to  Samuel  French,  25  West  45th  Street,  New 
York,  one  week  before  the  date  when  the  play  is  given. 

Whenever  the  play  is  produced  by  amateurs  the  following 
notice  must  appear  on  all  programs,  printing  and  advertis- 
ing for  the  play:  "Produced  by  special  arrangement  with 
Samuel  French  of  New  York." 

Attention  is  called  to  the  penalty  provided  by  law  for  any 
infringement  of  the  author's  rights,  as  follows: 

SECTION  4966 : — Any  person  publicly  performing  or  rep- 
resenting any  dramatic  or  musical  composition  for  which 
copyright  has  been  obtained,  without  the  consent  of  the 
proprietor  of  said  dramatic  or  musical  composition,  or  his 
heirs  and  assigns,  shall  be  liable  for  damages  thereof,  such 
damages,  in  all  cases  to  be  assessed  at  such  sum,  not  less 
than  one  hundred  dollars  for  the  first  and  fifty  dollars  for 
every  subsequent  performance,  as  to  the  court  shall  appear 
to  be  just.  If  the  unlawful  performance  and  representation 
be  wilful  and  for  profit,  such  person  or  persons  shall  be 
guilty  of  a  misdemeanor,  and  upon  conviction  shall  be  im- 
prisoned for  a  period  not  exceeding  one  year." — U.  S. 
Revised  Statutes:  Title  60,  Chap.  3. 


THE  CAST 

PRINCESS  MARIA  THERESA  OF  ARAGON. 

WARREN  JARVIS,  of  Kentucky. 

NITA,  the  Princess'  Maid. 

HOUSE  DETECTIVE,  Manhattan  Hotel. 

RUSTY  SNOW,  Warren  Jarvis*  Colored  Servant. 

DETECTIVES,  -from  Police  Headquarters. 

HOTEL  PORTER. 

STEWARD,  on  S.S.  Aquitania. 

CARLOS,  Duke  d'Alva. 

DOLORES,  the  Innkeeper's  Daughter. 

VARDOS,  Messenger  to  the  Missing  Prince. 

DON  ROBLEDO,  a  Soldier  of  Fortune. 

PEDRO,  the  Innkeeper. 

MAXIMO,  a  Spanish  Soldier. 

CASPAR,  a  Villager. 

JOSE,  Chauffeur. 

TIME  :   The  Present. 

ACT  I.     A   Room  in   the  Hotel  Manhattan,  New 
York.     Five  A.M. 

ACT  II.    A  Cabin  on  Board  S.S.  Aquitania.    Same 
Morning. 

ACT  III.   An  Old  Tavern,  Segura,  Spain.   Evening. 
ACT  IV.     The  Castle.     Same  Night. 


The  Ghost  Breaker 


ACT   I 


SCENE:  Room  1121,  Manhattan  Hotel,  New  York 
City. 

At  rise  stage  dark.  Moonlight  streams  through  the 
window.  Small  clock  strikes  five.  Pause. 
Tower  clock  strikes.  Two  gun-shots  heard  off 
stage  right.  Door  slams  off  stage.  Footsteps 
heard  coming  along  corridor,  growing  hubbub 
and  commotion.  PRINCESS  pokes  head  through 
curtains.  R.  door  bursts  open  and  WARREN 
JARVIS  enters  hurriedly,  in  long  coat  over  eve- 
ning dress,  closing  and  bolting  the  door  behind 
him. 

PRINCESS.  Madre  de  Dios!  (Showing  only  her 
head.)  QARVIS  kicks  in  door,  shuts  it,  and  throws 
his  shoulder  against  it.)  Who's  there? 

JARVIS.    Sh !    Don't  make  any  noise. 

PRINCESS.  (Winding  her  dressing  gown  closely 
about  her  and  coming  a  little  way  into  the  room) 
What  do  you  want  ? 

JARVIS.     Silence ! 

PRINCESS.  (Switches  on  lamp  on  right  table) 
How  dare  you  enter ! 

JARVIS.  Sh !  Not  a  sound — do  you  understand  ? 
5 


6  THE  GHOST   BREAKER 

VOICE  OFF.     (R.)    What's  the  row? 

SECOND  VOICE.     (R.)    Somebody  fired  a  pistol. 

PRINCESS.     What  right — ? 

JARVIS.    Quiet ! 

VOICE.    Where'd  he  go  ?    Look  on  the  fire-escape. 

SECOND  VOICE.    No,  he's  on  this  floor. 

PRINCESS.  What  is  it?  What  do  you  want  here ? 
What  have  you  done  ? 

JARVIS.  (Turning  to  her)  Now,  it's  all  right. 
I'm  not  going  to  harm  you.  If  you  will  just  keep 
quiet.  Is  that  clear  to  you  ? 

PRINCESS.  Is  it  money  you  want  ?  All  the  money 
I  have  is  on  that  dressing  table.  (Pointing.)  Take 
it  and  go. 

JARVIS.  I'm  not  a  burglar.  I  don't  want  your 
money. 

PRINCESS.  Well,  then,  what  do  you  want  ?  (Sound 
of  running  in  corridor  coming  toward  door  R.) 

JARVIS.  Listen (Turns  back  to  door.) 

They're  coming  here.  (To  PRINCESS)  They  mustn't 
search  this  room,  do  you  understand — you  must  put 
them  off — I'm  not  what  you  think  I  am.  (Running 
dies  away.  JARVIS  turns  to  PRINCESS.)  Is  there 
no  way  out  through  that  door?  (Indicates  door 

SR.) 

PRINCESS.    That  is  my  maid's  room. 

JARVIS.     The  fire-escape — where  is  it? 

PRINCESS.     In  the  hall  opposite. 

JARVIS.  I  thought  that  red  light  meant  in  here. 
Hell !  I  beg  your  pardon. 

PRINCESS.    Well,  why  don't  you  go  ? 

JARVIS.  I  can't  go  that  way.  (Indicating  door 
They'll  be  waiting  for  me  in  the  hall. 

PRINCESS.    Well,  what  do  you  expect  me  to  do  ? 

JARVIS.  The  light  fooled  me.  I  thought  that 
door  led  to  the  fire-escape. 

PRINCESS.     You  said  that  before. 

JAAVIS.    Ha!    Ha! 


THE  GHOST   BREAKER  7 

PRINCESS.     Is  the  situation  so  amusing? 

JARVIS.  I  beg  your  pardon.  I'm  not  laughing  at 
you.  I  blundered  in  here  by  mistake.  I'm  in  a  tight 
fix.  I  can't  leave  by  that  door.  I  must  find  some 
other.  (Sees  door  8,  across  to  door  8,  and,  dis- 
gusted, exclaims  when  he  sees  there  is  no  way  out 
there.  Notices  blood  on  hand  and  starts  to  put 
handkerchief  around  it.) 

PRINCESS.  (Going  down  stage  c.)  What's  hap- 
pened ?  You're  wounded !  Those  shots  I  heard 

JARVIS.    I  almost  stopped  one  of  the  bullets. 

PRINCESS.    Your  hand  is  bleeding. 

JARVIS.  Please — I  don't  see  how  the  devil 

(Runs  up  and  puts  up  shade  at  window  3,  sees  there 
is  no  way  out.)  Damn ! 

PRINCESS.  You  have  evidently  shot  someone  and 
are  making  me  shield  you  from  justice. 

JARVIS.  (Coming  down)  No,  not  from  justice — 
but  from  the  law. 

PRINCESS.     I  thought  they  were  the  same. 

JARVIS.  No,  not  always — there  would  be  no  jus- 
tice for  me  at  the  hands  of  the  law. 

PRINCESS.    Well,  that  is  not  for  me  to  decide. 

JARVIS.  But  you  shall  decide — at  least  you  shall 
listen — and  if  you  find  me  guilty — I'll — well,  I'll  take 
that  door  or,  or  anything  you  say. 

PRINCESS.  Your  presumption  is  indeed  ridicu- 
lous. 

JARVIS.  Hardly  ridiculous — I  am  arguing  for  my 
life. 

PRINCESS.  Can  any  decision  be  more  unjust  than 
mine  must  be  at  the  point  of  a  pistol  ? 

JARVIS.  (Lays  pistol  on  dressing  table  L.  and 
crosses  to  R.  of  PRINCESS)  There  is  nothing  to  pre- 
vent your  calling  for  help  now — after  all,  it  doesn't 
matter  much  whether  the  end  comes  today  or  the 
day  after. 


8  THE   GHOST   BREAKER 

PRINCESS.  The  end?  Then  why  don't  you  give 
yourself  up? 

JARVIS.  That  would  not  have  been  the  end.  You 
don't  understand,  I  know,  but  I'm  not  flying  from 
Justice.  There  was  in  this  a  case  of  shoot  or  be 
shot.  (Sound  of  running  toward  door  6.)  Listen 
— they're  here  now.  (JARVIS  crosses  door  8.) 

HOUSE  DETECTIVE.  (Knock  outside  door)  Any- 
body in  here  ?  (Knock.)  Open  the  door. 

JARVIS.  It's  up  to  you  to  do  with  me  as  you  like. 
(PRINCESS  points  to  door  L.  JARVIS  exits.) 

NITA.  (Off  stage  door  5)  Madame — Madame — 
(Enters.)  What  is  it?  (Running  to  mistress  for 
protection.)  Something  dreadful  must  have  hap- 
pened. (Knock  on  door  repeated.)  What  shall  I 
do? 

PRINCESS.  Open  it,  Nita.  (NiTA  opens  door  re- 
luctantly.) 

HOUSE  DETECTIVE.  (In  doorway)  Are  you  all 
right  in  here  ? 

NITA.    (Holding  door  open)    Si — Senor. 

PRINCESS.    What  is  it,  Nita? 

NITA.  (Indicating  PRINCESS)  My  mistress, 
Senor. 

HOUSE  DETECTIVE.  (Inside  of  door — removing 
hat)  Excuse  me,  madame,  I'm  the  house  detective. 
Are  you  all  right  in  here? 

PRINCESS.     Yes. 

HOUSE  DETECTIVE.  We're  sorry  to  bother  you, 
but  we're  looking  for  someone  and  we  thought  he 
might  have  come  in  here.  If  you  want  anything 
we'll  be  out  here  in  the  hall.  Good  night! 

NITA.  (Shuts  door  and  runs  to  PRINCESS  c.) 
Forgive  me,  Madame,  but  I  am  so  frightened.  What 
is  it?  What  is  it? 

PRINCESS.  Control  yourself,  Nita.  Go  to  bed, 
child.  (NiTA  goes  to  door  5.)  I  won't  need  you 
till  six  o'clock.  (Exit  NITA.) 


THE  GHOST   BREAKER  9 

JARVIS.  (Entering  L.C.J  Thank  you.  Would 
you  mind  bolting  that  door  again?  He  might  re- 
turn. (PRINCESS  crosses  to  door  and  bolts  it.)  Do 
you  know  what  a  feud  is? 

PRINCESS.     Feud?     Spain  is  the  home  of  feuds. 

JARVIS.  So  is  Kentucky.  That's  where  I  came 
from.  You're  Spanish? 

PRINCESS.     Yes. 

JARVIS.  Then  you'll  understand — those  shots  you 
heard,  that  was  the  end  of  a  feud.  I  was  called 
home  suddenly  by  the  death  of  my  father — shot  in 
the  back — feud — man  after  man — two  families — the 
Marcums  and  my  own  had  shot  each  other  down. 
Then  my  Dad  fell  and  I  was  left  to  fight  it  out  alone. 

PRINCESS.     Couldn't  you? 

JARVIS.  Couldn't  I?  God  only  knows  what  I've 
been  through  since.  Those  two  shots  you  heard — 
that  was  the  finish.  This  morning  when  I  got  back 
to  my  hotel,  there  was  a  message  waiting  for  me.  It 
was  signed  Jim  Marcum,  head  of  the  family,  and 
proposed  that,  as  we  were  out  of  Kentucky,  we  meet 
and  end  the  feud  amicably.  He  asked  me  to  meet 
him  at  this  hotel  in  his  room — no  matter  what  hour 
— he  would  be  waiting.  He  was  leaving  at  six  in  the 
morning  and  wanted  it  settled.  It  was  a  pretty 
scheme.  I  knew  the  man  and  I  saw  the  trap.  I 
came  over  here  prepared  and  went  directly  to  his 
room.  It  was  on  this  floor.  I  flung  open  the  door 
and  met  Jim  Marcum  face  to  face.  He  was  waiting. 
Without  a  word  he  fired.  I  fired,  and  he  dropped. 
Now  do  you  understand  why  the  law  would  not  give 
me  justice? 

PRINCESS.     Did  you  kill  him? 

JARVIS.     I  don't  know — I  didn't  wait. 

PRINCESS.    What  are  you  going  to  do  ? 

JARVIS.  I  don't  know.  Do  you  know  what  it 
means  to  fight  single-handed  against  fearful  odds — 
to  fight  an  endless  fight  alone  ? 


io  THE   GHOST   BREAKER 

PRINCESS.     Yes — yes — I  know. 

JARVIS.  Endless  fight — without  even  a  single 
word  of  encouragement? 

PRINCESS.     Yes,  I  know  what  it  means. 

JARVIS.  You  know?  How  could  you  know? 
How  could  any  woman  know  ? 

PRINCESS.  Yes,  I  do  know,  because  I  too  am 
fighting  against  fearful  odds. 

JARVIS.    There  is  no  man  to  fight  for  you? 

PRINCESS.     No  man  left  who  dares. 

JARVIS.  God,  if  there  had  only  been  some  woman 
to  fight  for  in  my  fight ! 

PRINCESS.     Your  mother  ? 

JARVIS.     She's  gone,  too. 

PRINCESS.    Are  you  alone? 

JARVIS.    Alone. 

PRINCESS.     If  you're  caught  it  means  your  life. 

JARVIS.    Yes. 

PRINCESS.    Suppose  I  decide  to  help  you  ? 

JARVIS.     What  do  you  mean  ? 

PRINCESS.  You  have  no  fear  of  death?  You  are 
not  afraid  of  ghosts  ? 

JARVIS.     No,  I'm  not  afraid  of  ghosts. 

PRINCESS.  If  you  escape  from  here  it  will  be  be- 
cause I  helped  you — we  might  say  I  saved  your  life, 
if  what  you  tell  me  is  true — and  if  I  do  it,  it  will  be 
from  a  selfish  motive  entirely — it  will  be  because  I 
have  work  for  you.  Do  you  understand  ?  Work — 
hard  work — dangerous  work.  It  may  mean  your 
life  in  the  end. 

JARVIS.     You  are  frank,  anyway. 

PRINCESS.  It's  a  chance — and  you  have  nothing 
to  lose. 

JARVIS.    And  if  I  agree? 

PRINCESS.  You  will  begin  by  taking  the  ancient 
feudal  oath  of  my  country. 

JARVIS.     Oath?    Isn't  my  word  good  enough? 

PRINCESS.     You  will  pardon  me  if  I  insist. 


THE  GHOST   BREAKER  11 

JARVIS.  Very  well — I'll  swear  the  blackest  oath 
you  can  utter.  Let's  hear  it. 

PRINCESS.     What's  your  name? 

JARVIS.     Jarvis. 

PRINCESS.    Your  full  name? 

JARVIS.     Warren  Jarvis. 

PRINCESS.  Kneel,  then,  Warren  of  Jarvis.  QAR- 
vis  kneels  on  both  knees.)  No,  not  that  way — on  one 
knee. 

JARVIS.     I  beg  your  pardon 

PRINCESS.  Now  repeat  this  oath:  "I,  Warren  of 
Jarvis " 

JARVIS.    "I,  Warren  of  Jarvis " 

PRINCESS.  "Seiior  of  all  the  domains,  fiefs,  keeps 
and  marshes  of  Warren  of  Kentucky " 

JARVIS.  Whew "Sefior  of  all  the  domains, 

fiefs,  keeps  and  marshes  of  Warren  of  Kentucky — " 

PRINCESS.  "Do  convey  to  Maria  Theresa,  of 

Aragon,  all  my  worldly  titles  and  possessions " 

Now  take  my  left  hand  in  both  of  yours  and  repeat, 
" — and  receive  them  back  as  vassal  and  retainer." 

JARVIS.  "And  receive  them  back  as  vassal  and 
retainer." 

PRINCESS.  "And  do  faithfully  fight  in  my  lady's 
cause  according  to  the  feudal  laws  of  Castile  and 
Aragon." 

JARVIS.  "And  do  faithfully  fight  in  my  lady's 
cause  according  to  the  feudal  laws  of  Castile  and 
Aragon." 

PRINCESS.  Arise,  vassal.  (JARVIS  arises  and 
kisses  her  hand.)  That  is  part  of  the  ceremony,  but 
I  meant  to  omit  it. 

JARVIS.  I  thought  that  the  only  sensible  part.  I 
beg  your  pardon — but  who  on  earth  is  this  Maria 
Theresa  that  I  am  hired  man  to  ? 

PRINCESS.  I — am  Her  Highness — Maria  Theresa 
— Princess  of  Aragon. 


12  THE   GHOST   BREAKER 

JARVIS.  Good  night!  You  a  Princess!  And  I 
have  been  ordering  you  around  with  a  gun.  (Sound 
of  running  for  a  moment.)  Sh !  (Crosses  to  door 
R.,  listens.)  It's  all  right,  but  how  am  I  going  to  get 
out?  They've  got  me  in  a  trap  here. 

PRINCESS.     The  trunk 

JARVIS.    The  trunk  ?    What  about  it  ? 

PRINCESS.  I  am  sending  it  on  board  the  Aqui- 
tania  at  six  o'clock. 

JARVIS.  (Dragging  trunk  down  stage)  You 
mean  to  get  in  it?  Good  Lord,  is  it  big  enough?* 

PRINCESS.  I  think  so — and  no  one  could  possibly 

suspect (JARVIS  takes  o-ut  trays — locket  drops 

out — back  to  audience.)  Oh 

JARVIS.     What  is  it? 

PRINCESS.  It's  nothing — I  mean  it's  all  right — 
it's  just  a  locket. 

JARVIS.     Did  I  break  it? 

PRINCESS.  No (JARVIS  takes  contents  out 

of  trunk.)  I  broke  it  myself  on  purpose — yester- 
day. It  means  a  great  deal  to  me  and  perhaps  to 
you.  Some  day  you  may  know  the  reason  why. 

JARVIS.  (Gets  in  trunk)  Would  you  mind  put- 
ting this  lid  down?  (PRINCESS  puts  down  lid  of 
trunk  on  JARVIS.  Grunts. )  O-oo-ou-ugh !  (Raises 
lid  and  stands  up  in  trunk.  PRINCESS  raises  lid  all 
the  way  back  as  soon  as  JARVIS  shouts.)  I'll  die  in 
there. 

PRINCESS.     But  it's  a  chance. 

JARVIS.  You're  right!  I'll  take  it.  (Gets  out  of 
trunk  and  goes  to  trays.)  What  are  we  going  to  do 
with  these? 

PRINCESS.  We  had  better  send  those  by  mes- 
senger. 

JARVIS.  (Turning)  Hold  on — I've  got  it.  No, 
you  had  better  'phone.  (PRINCESS  crosses  to  'phone 
R.)  Ask  the  operator  to  give  you  the  Hotel  Belmont, 


THE  GHOST   BREAKER  13 

across  the  street.  My  room  is  417.  Rusty,  my  serv- 
ant, is  there  now,  waiting  for  word  from  me.  (He 
crosses  to  PRINCESS.)  He  can  be  trusted.  Tell  him 
to  come  here  at  once — and  say  "Warren."  That 
will  fetch  him. 

PRINCESS.  417?  Hello Connect  me  with 

the  Hotel  Belmont,  please. 

JARVIS.    Remember,  ask  for  room  417. 

PRINCESS.  Yes,  I  know.  Hello,  hello!  Is  this 
the  Belmont? — Give  me  room  417. 

JARVIS.  Ask  if  it's  Rusty  and  be  sure  and  say 
"Warren." 

PRINCESS.  Hello — is  this  Mr.  Rusty?  Well,  lis- 
ten carefully.  You  are  to  come  right  over  to  the 
Manhattan  Hotel,  across  the  street  from  where  you 
are.  A  bellboy  will  be  waiting  for  you  at  the  desk, 
and  he  is  to  bring  you  right  up  to  room  1121. 

JARVIS.     And  tell  him  to  keep  his  mouth  shut 

PRINCESS.  And — and — don't  talk  to  anyone.  .  .  . 
What's  that?  "Warren."  He'll  be  coming  right 
over. 

JARVIS.  Now  get  the  clerk  downstairs,  and  tell 
them  to  look  out  for  Rusty  and  send  him  up  here. 

PRINCESS.    Hello,  hello!    I'm  expecting  a  man — 

JARVIS.    A  colored  man. 

PRINCESS.  A  colored  man.  To  get  some  things. 
He  will  come  right  to  the  desk.  Please  send  him 
up  at  once.  It  is  very  important.  (JARVIS  takes 
out  knife  and  begins  boring  hole  in  trunk  from  in- 
side out.  This  hole  should  be  already  cut  and  cov- 
ered with  a  label.)  What  are  you  doing  that  for? 

JARVIS.  Got  to  breathe.  I  think  I  can (Ap- 
parently the  knife  breaks.)  Confound  it! 

PRINCESS.     What  did  you  do? 

JARVIS.  Snapped  the  blade.  Now  how  am  I  go- 
ing to  cut  a  hole  in  that  trunk  ? 

PRINCESS.  (Crossing  to  dresser)  Will  my  shears 
do? 


14  THE   GHOST   BREAKER 

JARVIS.  If  they  are  not  too  large.  Where  are 
they?  (PRINCESS  gives  JARVIS  shears.)  Thank 
you.  What  time  does  the  boat  sail? 

PRINCESS.     Nine  o'clock. 

JARVIS.  Good — that  will  give  Rusty  time  to  get 
aboard  with  these  trays  and  my  baggage. 

PRINCESS.  We've  ten  minutes  before  they  call 
for  the  trunk.  (Knock  at  door  6.  PRINCESS  looks 
at  JARVIS,  who  makes  gesture  cautioning  silence  and 
exits  door  L.  PRINCESS  crosses  and  opens  door.) 
Come  in,  please. 

RUSTY.  (Enter  across  center)  Where's  Marse 

Warren ?  (Enter  JARVIS  across  to  RUSTY.) 

Lord  bless  you,  Marse  Warren — I  certainly  thought 
he  got  you ! 

JARVIS.  (Patting  RUSTY  on  the  back)  Never 
mind  what  you  thought.  Help  me  with  these — it's 
ten  minutes  to  six — we  sail  for  Europe  in  three 
hours. 

RUSTY.    Three  hours!     Good  Lord!     You  mean 

JARVIS.  Yes,  you  and  I.  What  are  we  going  to 
wrap  these  in?  (Picking  up  trays.) 

PRINCESS.  Here,  this  will  do.  (Handing  steamer 
rug  from  chair.) 

JARVIS.  Fine !  (Spreading  steamer  rug  on  trunk 
and  putting  tray  on  it,  wraps  up  tray  during  speech.) 
Take  these,  with  our  baggage,  to  the  steamship 
Aquitania — Cunard  Line.  Buy  accommodations. 
Mind,  you  won't  see  me  till  after  we  get  out  at  sea. 
Keep  in  your  stateroom  and  sit  tight  till  you  hear 
from  me.  You  understand  ?  Cunard  Line — and  the 
clerk  at  our  hotel  will  attend  to  everything  and  get 
the  tickets.  Then  you  pay  the  bill.  Now  get  hold 
of  this  money.  (JARVIS  gives  RUSTY  money.)  I 
beg  your  pardon!  This  is  Rusty.  Rusty,  this  is 
the  Princess  of  Aragon. 


THE  GHOST  BREAKER  15 

RUSTY.    How  do  you  do,  Mrs.  Princess? 

JARVIS.  There — that  will  do.  Now  do  you  un- 
derstand ? 

RUSTY.  Yes,  sir.  I  take  everything  to  the  steam- 
boat— get  accom — ac-commoda — accommoda 

JARVIS.    Accommodations. 

RUSTY.  Accomo — accommoda I  know  what 

you  mean.  (With  smile  at  PRINCESS.)  For  us  and 
Mrs.  Princess? 

JARVIS.  No,  no — not  for  the  Princess — just  for 
we  two. 

RUSTY.    Oh,  yas,  sir,  I  understand  perfectly,  sir. 

JARVIS.  (Gives  parcel  to  RUSTY)  Now,  then, 
what's  the  name  of  the  boat? 

RUSTY.    The  Aqui-tania. 

JARVIS.     What's  the  name  of  the  line? 

RUSTY.    The  Cunard. 

JARVIS.  Now  be  off,  and  don't  miss  that  boat. 
(PRINCESS  opens  door.) 

RUSTY.     (Exiting)    No,  sir,  I  won't  miss  it. 

PRINCESS.  (As  RUSTY  reaches  door)  Good-bye, 
Rusty. 

RUSTY.  (Turning)  Good-bye,  Miss — er — Prin- 
cess. 

(JARVIS  resumes  work  on  trunk.    PRINCESS  crosses 
to  JARVIS.) 

PRINCESS.     Can  you  do  it? 

JARVIS.  I  think  so — yes,  it's  going — there  it  goes 
— through ! 

PRINCESS.  Make  another.  (She  crosses  to  the 
dresser.) 

JARVIS.  Haven't  time.  I'll  widen  this  one  a  little. 
Remember  this  trunk  must  not  go  in  the  hold  of  the 
ship.  Have  it  marked  "Wanted"  and  "This  end  up." 
I  will  lie  with  my  head  this  way.  I'll  put  the  shears 


16  THE   GHOST   BREAKER 

in  here,  and  I  can  cut  another  hole  from  the  inside 
if  it  gets  too  stuffy. 

PRINCESS.  (Takes  revolver  from  dressing  table 
and  gives  it  to  JARVIS,)  And  you  better  take  this, 
too. 

JARVIS.     How  do  you  know  you  can  trust  me? 

PRINCESS.     I  don't — I  have  to  take  that  chance. 

JARVIS.     You  must  have  a  pretty  good  reason. 

PRINCESS.     I  have. 

JARVIS.  Now,  before  I  get  in  this,  there's  just 
one  or  two  things  I  would  like  to  know.  What  about 
the  ghost  ? 

PRINCESS.    Are  you  afraid  ? 

JARVIS.  Lord,  no,  I  just  wanted  to  know — that's 
all. 

PRINCESS.    You'll  know  in  time,  Mr.  Jarvis. 

JARVIS.     Are  you  really — a  sure  thing — Princess  ? 

PRINCESS.    Why  did  you  say  that  ? 

JARVIS.  Oh,  I  don't  know.  Somehow  you're  not 
quite  like  what  I  thought  a  Princess  would  be. 

PRINCESS.     I'm  sorry. 

JARVIS.  Oh,  I  didn't  mean  it  that  way.  I  mean 
that  you're  different  from  the  popular  idea  of  a 
Princess.  You  have  more  understanding — more 
sympathy — more  heart. 

PRINCESS.  (Idly)  In  that  respect,  sir,  you  will 
find  me  quite  like  your  popular  idea. 

JARVIS.  (Squelched)  I  wonder  if  that  hole  will 
let  in  enough  air? 

PRINCESS.  I  hope  so.  (PORTER  knocks.)  It 
must  be  the  men  for  the  trunk.  Who  is  it,  please? 

PORTER.    Trunks. 

JARVIS.  (Getting  into  trunk)  Remember?  This 
trunk  must  not  p-o  into  the  hold  of  the  ship.  You 
must  have  it  marked  "Wanted"  and  "This  side  up." 
You  mieht  add.  "With  Care."  if  vou've  a  mind  to. 

PRINCESS.     Are  you  all  right? 

JARVIS.     No. 


THE  GHOST   BREAKER  17 

PRINCESS.  (Shuts  trunk,  crosses  and  opens  door) 
The  trunk  is  ready. 

PORTER.  (Enter  and  cross  with  truck  L.  of  trunk) 
Very  good,  ma'am. 

PRINCESS.    Have  the  other  trunks  gone? 

PORTER.     Yes'm,  last  night. 

PRINCESS.  This  goes  on  the  special  wagon,  Por- 
ter. 

(Enter  HOUSE  DETECTIVE  and  sees  broken  door.) 

PORTER.  (Setting  trunk  on  end)  Yes,  mum.  I'll 
see  that  a  special  sticker  is  put  on  it. 

PRINCESS.  (Crosses  left  of  trunk)  Have  it 
marked  "Wanted"  and  "This  end  up." 

PORTER.  (Putting  trunk  on  truck)  You'll  find  it 
in  your  room  when  you  get  down  to  the  steamer. 

PRINCESS.     And,  Porter,  handle  it  gently. 

PORTER.  Shore,  I  never  smashed  one  in  my  life. 
(Starts  off  R.j  I'll  handle  it  like  it  had  glass  on  the 
inside,  so  don't  worry  one  little  bit. 

HOUSE  DETECTIVE.  (Stopping  trunk  c.  to  PRIN- 
CESS) Just  a  minute,  Porter.  How  did  that  lock 
get  broken  ? 

PRINCESS.  (Frightened,  but  trying  not  to  show 
it)  It  was  broken  when  I  came. 

DETECTIVE.    How  long  have  you  been  here? 

PRINCESS.    We  came  yesterday. 

DETECTIVE.    How  long  are  you  going  to  stay  ? 

PRINCESS.     We  sail  this  morning  for  Europe. 

DETECTIVE.  Huh!  Excuse  me,  Madame,  but  the 
police  are  making  an  investigation  and  they  would 
like  to  take  in  this  room.  Do  you  mind? 

PRINCESS.     No. 

DETECTIVE.    What  time  does  your  boat  sail? 

PRINCESS.     We  are  sailing  at  nine  o'clock. 

DETECTIVE.    Does  this  trunk  go  on  board? 


i8  THE   GHOST   BREAKER 

PRINCESS.  (Relieved)  Yes,  I  want  it  to  go  on  a 
special  wagon. 

DETECTIVE.  All  right,  Porter.  Go  ahead.  (Exit 
PORTER  with  trunk.  To  the  Police  who  are  supposed 
to  be  off  R.)  Come  in. 

CURTAIN 


ACT  II 


SCENE:  An  elegantly  furnished  stateroom  on  the 
SS.  Aquitania. 

AT  RISE  is  empty,  shuffling  and  murmuring  of  crowd 
on  deck.  "All  visitors  ashore!"  heard  in  dis- 
tance. 

Door  LV  leading  to  promenade  deck  outside;  door  R. 
leading  to  another  room;  windows  or  portholes 
in  rear  looking  out;  closet  down  R.  Lights  full 
up,  amber  and  white. 

Trunk  that  was  carried  off  stage  in  first  act  discov- 
ered stage  c.,  wrong  side  up.  Markings  that 
were  put  on  it  first  act  are  now  upside  down. 
Trunk  on  end.  When  curtain  rises  up  trunk 
begins  to  rock  back  and  forth  as  though  some- 
thing inside  was  trying  to  turn  it  over.  When 
probable  laugh  has  died  away,  door  L.  opens. 
Stateroom  STEWARD  is  showing  PRINCESS  and 
NITA  in. 

STEWARD.  (Opening  door  L.  and  standing  aside 
to  allow  PRINCESS  and  NITA  to  enter.  PRINCESS  en- 
ters first  and  trunk  upside  down  immediately  catches 
her  eye.  When  PRINCESS  well  in  room,  enter  NITA, 
who  stumbles  over  raised  sill.  Solicitously)  Oh, 
I'm  sorry !  Did  you  hurt  yourself?  (STEWARD  lays 
bags  and  satchels  on  seat,  back  to  audience. )  Rather 
inconvenient,  those  doors,  till  you  get  used  to  them, 
but  necessary  to  keep  out  the  water  in  rough 
weather. 

PRINCESS.  (L.,  paying  very  little  attention  to 
19 


20  THE   GHOST   BREAKER 

STEWARD,  only  anxious  to  get  rid  of  him  and  NITA 
so  she  may  turn  trunk  over.)  You  don't  anticipate 
a  bad  passage,  Steward? 

STEWARD.  (R.,  fussing  about)  Rather  uncertain 
at  this  season,  but  your  location  is  good,  Madam, 
and  you'll  find  she's  as  steady  as  a  church. 

PRINCESS.  (Looking  around  as  STEWARD  arranges 
things  fussily)  This  is  very  pleasant.  (NiTA  ar- 
ranges bags  and  grips  on  window  seat.) 

STEWARD.  Quite  the  best  suite  on  board,  Madam. 
Here  is  the  clothes  press,  and  the  other  rooms  are 
off  there.  (Opening  door  L.  and  closing  it  again.) 
If  you  want  anything — (Points  L.J — there  is  the 
telephone.  (Notices  trunk  in  middle  of  room  for 

first  time.  Takes  hold.)  I'll  place  your  trunk 

(Starts  to  move  trunk  and  drags  it  to  side.) 

PRINCESS.  (Quickly  stopping  him)  Never  mind 
now,  Steward.  You  can  place  it  later.  (STEWARD 
releases  trunk,  but  does  not  set  it  down.)  You  might 
turn  it  right  side  up. 

STEWARD.  (Noticing  labels)  Oh,  I'm  sorry! 
(Turns  trunk.  PRINCESS  sighs.)  I  hope  the  con- 
tents are  not  upset,  madam. 

PRINCESS.    I  hope  not. 

STEWARD.    Anything  more,  Madam? 

PRINCESS.  (Anxious  to  get  him  out  of  room) 
Not  now,  thank  you,  Steward.  How  soon  do  we 
sail? 

STEWARD.  Very  soon  now.  (Voices  off  calling, 
"All  ashore!"  four  times;  voice  approaches  and  dies 
away.)  They're  already  calling  "All  ashore,"  Ma- 
dam. (Exit  and  closes  door.) 

NITA.  (L.C.)  Your  Highness  has  the  key  to  this 
trunk  ? 

PRINCESS,  (c.)  Yes — yes — you  may — leave  this 
trunk  as  it  is,  Nita,  till  later.  (Crosses  to  R.j  Go 
to  your  room  and  get  settled ;  then  unpack  the  other 
trunks.  I'll  call  you  when  I  want  you. 


THE  GHOST  BREAKER  21 

NITA.  (Going  toward  door  *.)  Yes,  your  High- 
ness. (When  R.,  near  door,  stops  suddenly  and  tim- 
idly says)  Will  your  Highness  pardon  me  if  I  am 
mistaken  in  thinking  I  recognize  the  Duke,  your  ex- 
alted cousin,  among  the  passengers? 

PRINCESS.  (Without  showing  NITA  that  she  is 
startled,  but  audience  sees  it)  My  cousin,  impossi- 
ble. He  is  at  Madrid. 

NITA.  (In  excellent  servant  style,  yet  knowing 
she  is  right)  Yes,  your  Highness.  (NiTA  bows  and 
exits  R.,  closing  door.) 

PRINCESS.  (Quickly  fumbles  with  keys — selects 
right  one,  inserts  in  lock,  unlocks  and  opens  lid.  Just 
as  lid  up)  Are  you  all  right,  Mr.  Jarvis?  (Knock 

at  door  as  PRINCESS  starts  to  raise  lid.)  Wait 

(Shuts  down  lid  again.  Knock  repeated.  PRINCESS 
crosses  and  opens  door  L.,  disclosing  DUKE.  Ex- 
claims in  dismay)  Carlos 

DUKE.  (Raising  hat — standing  in  open  door) 
Fair  cousin — if  I  but  knew  you  were  as  pleased  as 
surprised  at  seeing  me.  (During  speech  he  has  en- 
tered; takes  PRINCESS'  hand  and  carries  it  to  lips 
and  kisses  it.) 

PRINCESS.     Why  did  you  leave  Spain? 

DUKE.  (Shuts  door)  First  say  you  are  glad  to 
see  me. 

PRINCESS.    Why  are  you  here  ? 

DUKE.    (R.C.)    Are  you  not  glad  to  see  me? 

PRINCESS.  (L.C.J  Why,  of  course,  Carlos,  I — 
I'm  always  glad  to  see  you.  But  why  have  you 
come  to  America? 

DUKE.    Who  could  bring  me  to  America  but  you? 

PRINCESS.     How  did  you  find  me? 

DUKE.  It  wasn't  easy.  Spain  had  no  attraction 
for  me  after  you  left,  and  I  followed.  Is  not  that 
true  devotion?  (Two  long  whistles.  PRINCESS  gets 
up  confusedly  as  though  she  would  not  listen  and 
goes  to  window  back.) 


22  THE   GHOST   BREAKER 

PRINCESS.  (Up  to  window  c.)  Oh,  come!  We 
are  starting !  Let's  go  out  on  deck — I  want  one  last 
look  at  America. 

DUKE.  Thank  you,  cousin,  I  can  do  very  well 
without  it. 

PRINCESS.  Oh,  Carlos,  don't  be  absurd!  Please. 
(Whistle.)  We'll  be  gone  in  ten  minutes.  (She  goes 
toward  door.  CARLOS  gets  up  and  opens  it  for  her. 
Not  wanting  to,  PRINCESS  exits,  followed  by  CARLOS, 
who  closes  door  after  him.  Trunk  lid  raised  slowly 
after  PRINCESS  and  DUKE  exit.  JARVTS'  head  ap- 
pears and  looks  about.  Throws  back  lid  and  stands 
up.  Gets  cigarette  and  'matches  out  of  pocket,  lights 
and  smokes.  Expresses  satisfaction.  Lifts  one  leg 
to  step  out  of  trunk;  gets  stitch  in  back  at  move- 
ment.) 

JARVIS.  Oh — oh — Lord!  (Carries  this  business 
at  far  as  legitimate.  With  every  movement  getting 
out  of  trunk  finds  new  pain.)  If  I  only  had  that 
last  baggage  man  by  the  neck!  Oh — a — oh,  Lord! 
(Crosses  left  and  drinks  water.)  Well,  I'm  all  here, 
most  all.  (Feels  elbow  that  is  evidently  skinned. 
Shoes  are  bent  up  from  being  doubled  up  in  trunk. 
Sees  them.)  My  feet  are  bent.  (Goes  to  stoop 
down  to  get  them — gets  stitch  in  back.  Drinks.) 
Oh — oh — o!  (Hobbles  over  to  looking  glass,  then 
to  telephone  R.)  Hello — hello — give  me  Mr.  Jarvis' 
stateroom.  Please — Jarvis — Warren  Jarvis.  No. 
I  don't  know  the  number.  All  right.  (Pause.) 
Hello — Rusty?  Come  on  up  here  quick  and  bring 
me  an  overcoat,  cap  and  scarf.  What's  that  ?  Hold 
on,  I'll  see.  (Pause,  then  opens  door  L.  and  looks 
at  number  on  outside;  shuts  door;  back  to  telephone) 
Stateroom  A — promenade  deck — and  bring  up  that 
big  bundle — quick,  now!  (Hangs  up — crosses  and 
looks  out  window.)  Well,  good-bye,  America.  I 
don't  know  when  I'll  see  your  shores  again.  (Shuts 
trunk  and  sits  on  it.)  If  Rusty  gets  here  before 


THE  GHOST   BREAKER  23 

that  Exalted  Cousin  returns,  I'll  be  all  right.  Hm — 
ouch! — I  wonder  what  the  game  is?  (Knock  at 
door.)  Go  away — we're  all  very  ill.  QARVIS,  un- 
certain who  it  is,  starts  to  hide.  Door  opens  very 
cautiously.  Enter  RUSTY  carrying  bundle  of  trays 
taken  in  first  act.) 

RUSTY.  (Looking  over  shoulder)  I  knows  where 
I'm  goin',  all  right. 

JARVIS.     Come  on  in,  Rusty. 

RUSTY.  (Crosses  to  back  of  trunk)  How  did 
you  get  on  board? 

JARVIS.     I  came  in  that  trunk. 

RUSTY.     You  came  in  that  trunk  ? 

JARVIS.     Did  you  see  any  signs  of  the  police? 

RUSTY.     No,  sir. 

JARVIS.    Are  you  sure? 

RUSTY.    Yes,  sir. 

JARVIS.    Did  you  look  ? 

RUSTY.  No,  sir.  (Handle  of  door  R.  rattles. 
JARVIS  to  open  door.  PRINCESS  enters.) 

RUSTY.    How  de  do,  Mrs.  Princess? 

PRINCESS.  How  do  you  do,  Rusty?  (Exclama- 
tion C.R.)  Oh,  there  you  are!  You're  all  right, 
aren't  you? 

JARVIS.   (Rubbing  sore  places)  Yes,  I'm  all  right. 

PRINCESS.  But  your  hand — you  must  have  that 
attended  to  at  once. 

JARVIS.  That's  all  right.  I'll  see  the  ship's  sur- 
geon. 

PRINCESS.    Do,  please. 

JARVIS.  (R.)  You  can  go  now,  Rusty.  Oh,  lis- 
ten !  What  is  the  number  of  your  stateroom  ? 

RUSTY.    Number  Seven  twenty-nine. 

JARVIS.  Seven  twenty-nine.  Now  get  this:  Go 
there,  lock  yourself  in,  and  don't  talk  to  anyone. 
You're  deaf  and  dumb — understand? — deaf  and 
dumb. 

RUSTY.    I  got  you  first.    (Exit  upper  deck.) 


24  THE   GHOST   BREAKER 

PRINCESS.  There  is  something  I  must  tell  you. 
My  cousin,  the  Duke  D'Alva,  is  on  board  this  boat. 

JARVIS.  (Whimsically)  He  professes  to  love  you 
devotedly. 

PRINCESS.    You  overheard? 

JARVIS.  (Pointing  to  trunk)  The  trunk.  It 
wasn't  my  idea,  you  know.  (With  feeling — yet 
knowledge)  You  are  afraid  of  him?  Why? 

PRINCESS.  Well,  he  is  very  powerful — and  I  may 
be  driven  into  his  hands. 

JARVIS.  You  mean — you  might  have  to  marry 
him? 

PRINCESS.  (Looking  nervously  toward  door  c.) 
Yes,  if  you  fail. 

JARVIS.  (Breath  being  taken  away)  If  I  fail — 
Say,  hold  on  a  minute !  Things  are  coming  too  fast 
for  me.  I — you — how  do  I 

PRINCESS.  (Interrupting)  He  may  come  back 
any  minute — and  I  don't  dare  tell  him  what  hap- 
pened at  the  Manhattan  Hotel — but  he  will  want  to 
know  who  you  are  and  why  you  are  with  me. 

JARVIS.  That's  what  I  want  to  know.  You  forget 
I  am  completely  in  the  dark. 

PRINCESS.  (Looking  out  of  window)  The  police 
can't  be  on  board  now.  (Down  stage.) 

JARVIS.  (Going  to  window  beside  her,  and  then 
back  again)  You  can't  tell  until  you  see  who  goes 
ashore  with  the  pilot.  They  may  be  working  on 
Rusty  as  a  clue,  but  it  won't  lead  them  to  anything 
so  long  as  they  don't  connect  him  with  me.  We'll 
take  no  chances  until  we  get  past  the  danger  line. 
Now  let's  get  down  to  business.  What  is  the  matter 
— and  what  am  I  to  do? 

PRINCESS.  (Hesitating)  I  hardly  know  how  to 
bsgin — it  seems  absurd  in  this  broad  daylight  to  talk 
of  ghosts — but  the  fact  is,  my  castle  is  haunted. 

JARVIS.     (Laughing)     Spooks  ? 

PRINCESS.    (Very  seriously)    Call  it  anything  you 


THE  GHOST  BREAKER  25 

like,  but  the  castle  is  haunted,  just  the  same.  My 
grandfather  was  one  of  the  wealthiest  nobles  in 
Spain.  When  he  died  my  father  went  to  take  pos- 
session of  his  estate  in  Segura.  He  found  the  town 
full  of  weird  stories  of  uncanny  happenings — the 
castle  was  deserted,  everyone  had  fled  and  all  told 
of  something  in  armor  that  stalked  the  halls  at  night. 

JARVIS.     O-o-o-o-o-o-o-h ! 

PRINCESS.  My  father  laughed  at  the  silly  natives 
and  said  he  would  go  into  the  castle  and  show  them 
how  foolish  their  fears  were.  He  went,  and  was 
never  seen  again. 

JARVIS.  (Naturally  deeply  interested)  What  hap- 
pened to  him? 

PRINCESS.  No  one  knows.  He  disappeared — 
vanished  utterly,  without  leaving  a  single  clue — and 
the  treasure's  gone. 

JARVIS.  (More  interested  at  word  Treasure) 
Treasure — what  treasure? 

PRINCESS.  My  grandfather  is  known  to  have  con- 
verted all  his  wealth  into  Spanish  gold.  It  amounted 
to  about  a  million  dollars  in  your  money. 

JARVIS.     How  long  ago  was  that  ? 

PRINCESS.  Fifteen  years  ago.  Since  then  two 
other  men  have  disappeared — just  as  my  father  did 
— and  now,  the  Duke  tells  me  that  my  brother  has 
entered  the  castle.  You  see  it  runs  in  the  blood.  Up 
to  a  week  ago  my  brother  had  sent  me  a  cable  every 
day,  then  suddenly  the  messages  ceased.  All  this 
week  not  a  word.  Now  I  know — my  brother  has  en- 
tered the  castle,  and — well,  that  is  the  end. 

JARVIS.     Why  did  you  leave  Spain  ? 

PRINCESS.  A  part  of  the  legend  was  that  a  plan 
had  been  made  showing  just  where  the  treasure  was 
located — but  this  plan  could  never  be  found.  Only 
by  accident  I  learned  that  this  plan  had  been  hidden 
in  the  back  of  a  locket  and  the  locket,  I  discovered, 


26  THE   GHOST   BREAKER 

had  been  sold  and  was  in  America.  It  was  to  find 
this  locket  that  I  left  my  brother  and  came  here. 

JARVIS.  Then  my  work  now  is  to  find  your 
brother  and  solve  the  mystery?  All  right!  We'll 
explain  to  the  Duke  that  you  are  taking  me  to  Spain 
for  no  other  purpose  than  to  solve  the  mystery.  In 
America  we've  had  trust-breakers  and  strike-break- 
ers, and  now  why  not  Jarvis,  the  Ghost  Breaker  ? 

PRINCESS.  Why,  yes,  why  not?  Carlos  would 
believe  almost  anything  of  you  Americans. 

JARVIS.  (Whimsically)  And  you  will  tell  him 
you  have  made  me  a — er — what  is  it?  A  vassal? 

PRINCESS.  (Almost  shyly)  I  think  not — not  just 
yet. 

JARVIS.  By  the  way,  your — er — just  how  should 
a  perfectly  good  vassal  address  his  Princess  ? 

PRINCESS.     (Hesitatingly)     Highness — is  correct. 

JARVIS.  Highness — tell  me,  your  Highness,  a  vas- 
sal doesn't  amount  to  much,  does  he?  I  thought  he 
was  a  piker. 

PRINCESS.  (Mystified)  A  piker — a  man  who 
carries  a  pike  ? 

JARVIS.  (Trying  to  explain)  No,  no — a  piker  is 
a  tin  horn. 

PRINCESS.    Tin  horn? 

JARVIS.  Well,  a  sort  of  pawn  in  this  game  of 
chess — along  with  your  kings  and  queens  and  castles 
and  things.  (Seriously,  yet  playfully)  Could  a 
good,  hard-working,  reliable  vassal  work  his  way 
up  to  be  a  Duke  or  a  Lord,  or  something  like  that? 

PRINCESS.  (Almost  playing  with  him)  You're 
an  ambitious  vassal,  aren't  you?  I'm  afraid  you 
wouldn't  be  content  with  being  anything  less  than  a 
king. 

JARVIS.  (Meaningly)  A  king — a  prince — or  a 
bandit. 

PRINCESS.    A  bandit?    And  why  a  bandit? 


THE  GHOST   BREAKER  27 

JARVIS.  A  king  might  command — a  prince  re- 
quest— a  bandit  seize. 

PRINCESS.     Seize  what? 

JARVIS.  (Daringly)  That  which  a  mere  vassal 
can  only  admire.  (Knock  at  door.  Both  brought 
back  to  earth.) 

PRINCESS.     There  he  is  now. 

JARVIS.    Hooray ! 

PRINCESS.    What  shall  I  call  you? 

JARVIS.  (Whispering)  Oh,  any  old  thing — War- 
ren, Mr.  Warren.  (Pause.  PRINCESS  crosses  to 
door,  hesitates  a  moment,  then  opens  it.) 

PRINCESS.     Come  in. 

(Enter  DUKE.     Stops  at  sight  of  JARVIS.) 

DUKE.  Oh,  I'm  intruding.  (Spoken  as  though 
he  expected  JARVIS  to  go.) 

PRINCESS.  Allow  me  to  present  Mr.  Warren, 
whom  I  am  bringing  from  America  to  solve  the  mys- 
tery of  the  castle.  My  cousin,  Duke  D'Alva.  (She 
crosses  L.) 

JARVIS.  (Cross  to  DUKE — easily)  Glad  to  know 
you.  (PRINCESS  back  R.j 

DUKE.  (Patronizingly)  I  am  honored.  Interest- 
ing task  you  have  undertaken.  May  I  ask  if  that  is 
your  regular  profession? 

JARVIS.  That  is  my  business,  solving  mysteries, 
looking  up  the  family  skeleton,  hunting  out  spooks. 
What  we  call  in  America  a  Ghost  Breaker ! 

DUKE.  Ghost  Breaker?  A  strange  calling.  I  in- 
deed never  heard  of  anything  more  extraordinary. 

JARVIS.  It  is  not  surprising,  your  Excellency.  We 
are  living  in  an  age  of  specialists — and  like  every 
other  profession,  this  calls  for  its  own  peculiar  train- 
ing. 

PRINCESS.    (Interrupting)    I  am  so  glad  you  are 


28  THE   GHOST   BREAKER 

here,  cousin — you  will  be  able  to  tell  Mr.  Warren, 
so  much  better  than  I,  all  the  circumstances. 

DUKE.  I'll  be  delighted  to  throw  any  light  I  can 
on  the  mystery,  but  first  tell  me — (To  PRINCESS) — 
why  did  you  leave  your  brother  to  come  to  Amer- 
ica? 

PRINCESS.  (Takes  locket  from  reticule)  This 
little  locket  is  what  brought  me  to  America. 

DUKE.  (Crosses  to  her,  holding  out  hand  to  take 
it)  May  I  see  it? 

PRINCESS.  (Takes  out  memo.)  No,  Carlos,  you 
may  see  the  locket — no  one  must  see  the  memo- 
randum. 

DUKE.     Memorandum  ? 

PRINCESS.    Yes. 

JARVIS.  (Seated  on  trunk — to  DUKE)  A  wise 
precaution. 

DUKE.  (Picking  up  locket)  Curious  old  piece 
of  work — and  you  came  all  the  way  to  America  for 
this? 

PRINCESS.    Yes. 

DUKE.  You  were  very  fortunate  to  find  it  so 
soon.  (Cross  Rj 

PRINCESS.  I  knew  where  to  go  to  find  it — and  yet 
I  was  nearly  too  late.  Think  of  it,  after  that  dear 
old  locket  had  lain  in  an  antique  shop  for  ten  years, 
suddenly  in  one  day  there  came  two  inquiries  for  it. 
(JARVIS  sits  looking  at  CARLOS.)  Mine  was  the  sec- 
ond. A  distinguished-looking  gentleman  had  been 
there  in  the  morning,  described  it  roughly  to  the  old 
man  and  got  him  to  hunt  for  it.  He  had  just  found 
it  when  I  came  in.  I  doubled  the  distinguished- 
looking  gentleman's  offer  and  got  it.  (Another  look 
at  DUKE.)  Who  do  you  suppose  wanted  that  locket, 
Carlos  ? 

DUKE.  (R.,  being  cornered  and  with  effort  to 
throw  it  off  lightly)  I  see  that  it  has  already  oc- 


THE   GHOST   BREAKER  29 

curred  to  you  that  I  am  the  distinguished-looking 
gentleman  whose  offer  you  doubled. 

PRINCESS.  (With  curiosity)  But  how  did  you 
learn  about  the  memorandum,  Carlos  ?  (  JARVIS  sits 
on  trunk.) 

DUKE.  I  didn't,  Cousin.  I  had  not  the  slightest 
suspicion  that  the  locket  contained  the  supposed  se- 
cret. I  was  merely  following  my  pet  hobby,  trying 
to  recover  some  of  those  precious  heirlooms  whicn 
have  been  scattered  to  the  four  winds.  (Quickly) 
You  would  be  surprised,  Mr.  Warren,  to  see  the 
collection  I  have  already  rescued  and  which  some 
day  may  be  yours,  Maria. 

JARVIS.  (Breaking  in  impatiently)  Well,  so  much 
for  the  treasure.  Now  let's  hear  about  the  ghost. 
What's  your  opinion  of  this,  your  Excellency?  Do 
you  put  any  stock  in  ghosts? 

DUKE.  Yes,  Mr.  Warren,  I  am  convinced  there 
are  such  things. 

JARVIS.     You  believe  that  this  castle  is  haunted? 

DUKE.     I  know  it. 

JARVIS.  You  think  this  ghost  is  dangerous  to  en- 
counter— that  it  is  the  cause  of  the  deaths  and  dis- 
appearances in  the  castle  ? 

DUKE.     I  do. 

JARVIS.  Well,  what  do  you  think  about  that? 
Ghosts That's  a  pretty  broad  term,  your  Ex- 
cellency. Can  you  tell  me  just  what  you  believe  this 
ghost  is  ? 

DUKE.  There  are  certain  occult  forces  in  this 
world,  Mr.  Warren,  that  science  cannot  fathom,  and 
some  of  them  are  manifested  in  that  castle  now.  A 
priest  might  call  it  a  demon  or  a  fiend;  a  physcolo- 
gist,  perhaps  a  returning  spirit.  I  can't  say — but  I 
know  there  is  something  real,  a  malignant  force 
which  lurks  in  that  castle,  and  while  it  haunts  those 
halls,  it  is  madness  for  any  man  to  expose  himself 
there. 


30  THE   GHOST   BREAKER 

JARVIS.     Have  you  ever  seen  this  ghost? 

PRINCESS.     My  brother  has. 

JARVIS.     What  ? 

PRINCESS.    Twice. 

JARVIS.     Good  night! 

PRINCESS.  So  has  my  father,  and  the  others  when 
they  disappeared.  No  one  has  seen  it  three  times 
and  lived. 

•  JARVIS.  (Interrupting  and  looking  at  DUKE)  In 
just  what  way  do  you  connect  this  spook  with  the 
treasure  ? 

DUKE.  Spook?  I  see  no  connection.  What  do 
you  mean? 

JARVIS.  Oh,  there  is  always  money  where  the 
ghost  walks. 

DUKE.  I  don't  know  what  your  experience  has 
been,  Mr.  Warren.  You  are  evidently  a  brave  man 
— but  you  have  yet  to  encounter  a  real  ghost. 

JARVIS.  Brave!  It  takes  no  bravery  to  fight  a 
coward.  That  is  what  this  ghost  is — it's  a  coward 
like  every  other  ghost.  I  tell  you  that  men  are  not 
half  so  afraid  of  spirits  as  spirits  are  afraid  of  men. 
Face  the  supernatural — and  it  is  beaten  to  a  frazzle 
before  the  fight  begins.  Spooks — horse-thieves — and 
peevish  wild-cats  can  all  be  tamed  by  the  same  little 
charm. 

PRINCESS.     (Mystified)     Charm  ? 

DUKE.     (Leaning  forward)     What  is  it? 

JARVIS.  I'd  hate  to  tell  you.  It's  part  of  my  sys- 
tem. (Taking  out  pistol.) 

DUKE.  (Scornfully)  I  had  been  hoping,  Mr. 
Warren,  that  you  had  some  subtle  method  of  handl- 
ing this  problem,  but  you  evidently  propose  to  meet 
the  forces  of  the  supernatural  with  firearms.  I — I 
may  tell  you  that  this  specter  has  been  shot  at  before 
without  the  slightest  effect. 

JARVIS.  (Smiling)  Quite  likely,  your  Excel- 
lency. I  have  seen  rifle  fire  that  had  not  the  slight- 


THE  GHOST   BREAKER  31 

est  effect  on  a  wild-cat  for  the  very  reason  that  the 
firing  was  wilder  than  the  cat. 

DUKE.  (As  though  pitying  him)  I  am  sorry  for 
you  Mr.  Warren.  You  will  find  the  ghost  more 
real  than  the  treasure. 

PRINCESS.  (Rising)  But  the  treasure  is  real, 
Carlos.  Would  I  have  crossed  the  ocean  for  this 
locket  unless  I  knew?  Why,  with  this  paper  any- 
body— a  total  stranger — could  walk  right  up  to  the 
very  stone  that  hides  it 

JARVIS.  (Meaningly)  Pretty  dangerous  paper  to 
have  around.  Look  out  somebody  does  not  get  there 
ahead  of  you. 

DUKE.  (Meaningly  to  JARVIS)  Yes,  it  is  a  dan- 
gerous paper — if  it  leads  anyone  into  the  castle. 

JARVIS.  (Laughingly)  Well,  your  Excellency, 
I'd  go  a  long  way  for  the  fun  of  unravelling  a  good 
mystery  with  a  little  spice  of  danger  thrown  in. 

DUKE.  You  needn't  have  gone  so  far,  Mr.  War- 
ren. You  are  leaving  a  very  unusual  case  behind 
you  in  New  York.  The  papers  are  full  of  it.  Have 
you  read  them?  (Picking  up  newspaper.)  It  will 
interest  you  too,  Cousin.  You  were  at  the  Manhat- 
tan last  night,  I  believe. 

PRINCESS.  Yes!  (JARVIS  and  PRINCESS  look  at 
each  other  and  DUKE  reads  from  newspaper.) 

JARVIS.  Why,  no (Glancing  at  trunk.)  I 

was  so  wrapped  up  in  my  baggage  I  really  didn't 
have  a  chance.  (Looks  at  PRINCESS.) 

DUKE.  "Pistol  duel  in  Manhattan  Hotel.  Colo- 
nel James  Marcum,  a  prominent  and  wealthy  Ken- 
tuckian,  nearly  met  his  death  at  five  o'clock  this 
morning  in  a  pistol  duel  in  his  room  at  the  Manhat- 
tan Hotel."  (Glancing  down  a  little  further)  "At 
a  late  hour  the  police  had  no  clue  to  the  identity  of 
his  assailant,  except  the  remarkable  fact  that  the 
person  is  still  hiding  somewhere  in  the  hotel." 


32  THE   GHOST   BREAKER 

JARVIS.  (Interrupting)  He's  probably  a  long  way 
from  the  hotel  by  this  time. 

DUKE.  (Looking  at  paper)  They  say  that  he 
couldn't  have  gotten  out  without  being  seen. 

JARVIS.  That's  the  theory  of  the  police  or  re- 
porters. 

DUKE.     What  do  you  think? 

JARVIS.  He  might  have  escaped  in  a  thousand 
ways — but  that  work  is  hardly  in  my  line.  That 
belongs  to  the  "Gum-shoes." 

DUKE.    Gum-shoes  ? 

JARVIS.    Yes,  ordinary  detectives.     (Enter  NITA.) 

NITA.     Excuse,  Madame 

PRINCESS.  No,  Nita !  Not  just  yet.  I'll  call  you 
when  I  want  you. 

JARVIS.  We  are  keeping  you  from  getting  settled, 
I  am  afraid.  (Cross  toward  door.)  So,  if  you  will 
excuse  me,  I'll  see  you  at  luncheon,  perhaps. 
Hooray!  I  am  glad  to  have  made  your  acquaint- 
ance, your  Excellency. 

DUKE.  Thank  you,  Mr.  Warren,  I  find  you  most 
interesting.  I  shall  be  glad  to  hear  more  of  your 
remarkable  profession.  (WARREN  crosses  to  door 
and  opens  it,  disclosing  two  detectives  and  steward.) 

DETECTIVE.    Are  you  Miss  M.  T.  Ar — ra — gan? 

PRINCESS.     (L.C.)    Yes ! 

DETECTIVE.  You  was  at  the  Manhattan  Hotel  last 
night  ? 

PRINCESS.     Yes. 

DETECTIVE.    The  lock  on  your  door  was  broken? 

PRINCESS.     Yes. 

DETECTIVE.  (Removes  hat)  I  am  from  head- 
quarters, Madame,  and  I  have  orders  to  clear  up  one 
or  two  little  matters  with  that  affair  at  the  hotel  last 
night. 

DUKE.  Orders,  orders !  To  break  in  here — what 
headquarters  ? 

DETECTIVE.    Police  headquarters. 


THE   GHOST   BREAKER  33 

DUKE.    Do  you  know  whom  you  are  addressing? 

DETECTIVE.  Say — that  will  be  about  all  from  you ! 

PRINCESS.  Yes,  Carlos.  Please  let  me  attend  to 
this  matter.  Won't  you  come  in,  gentlemen  ? 

DETECTIVE.  Thanks.  (Realising  they  are  already 
in  the  room)  That's  all,  Steward.  (Exit  STEW- 
ARD; enter  DETECTIVES,  closing  door.  JARVIS  slips 
wounded  hand  into  coat  pocket.) 

JARVIS.  Yes,  we  were  just  discussing  that  mys- 
tery, Inspector. 

DUKE.  You  are,  I  take  it,  one  of  the — er — gum- 
shoes ?  (JARVIS  laughs  and  goes  up  stage.) 

DETECTIVE.  (Glaring  angrily  for  a  moment,  walks 
over  toward  him  and  shouts  in  his  face)  Gum-shoe ! 
Say,  are  you  trying  to  be  funny  ? 

DUKE.  Well,  sir,  you  are  talking  rather  loud  and 
with  undue  asperity.  I  presume  I  have  offended 
you. 

DETECTIVE.  You  presume!  That's  a  hot  one! 
Say,  who  are  you,  anyhow? 

DUKE.  I  am  Carlos  Hernando  Duke  D'Alva.  I 
have  other  titles,  but  they  would  hardly  interest  you. 

DETECTIVE.  Dock  de  Alver — and  then  some,  eh? 
Ain't  that  nice?  Well,  if  you  was  the  Archbishop 
of  Canterbury  I'd  run  yer  in  and  take  yer  'shore  if 
yer  give  me  any  more  lip !  (To  PRINCESS,  sucks  his 
teeth  contemptuously  and  turns  his  back  on  DUKE. 
Produces  notebook  from  pocket  and  addresses 
PRINCESS.)  As  you  was  saying  when  we  was  in- 
terrupted, you  was  in  the  hotel  when  the  shooting 
occurred.  Did  you  hear  it? 

PRINCESS.     Yes,  I  heard  two  shots. 

DETECTIVE.    Did  you  hear  anything  else? 

PRINCESS.  Yes,  I  heard  some  people  running  near 
my  door. 

DETECTIVE.     Any  one  come  in? 

PRINCESS.  Yes,  my  maid  was  frightened  and 
came  in. 


34  THE   GHOST   BREAKER 

DETECTIVE.  Aha!  How  did  the  lock  on  your 
door  get  broken  ? 

PRINCESS.  It  was  broken  when  I  came.  I  ex- 
plained all  that  at  the  hotel. 

DETECTIVE.  Um — all  right.  What  about  the  col- 
ored man  who  came  to  your  room  and  carried  away 
a  large  bundle. 

PRINCESS.  That  was  my  servant.  I  sent  for  him. 
They  were  purchases  I  made  too  late  to  put  in  my 
trunk.  They  are  here,  unopened ;  you  may  examine 
them  if  you  wish. 

DETECTIVE.  That's  all  right,  Miss,  but  what  do 
you  know  about  this  ?  (Produces  knife  from  pocket 
— walks  slowly  to  her,  examining  it.)  The  initial 
on  it  is  "W." 

PRINCESS.  Did  I  leave  that?  Thank  you.  I'm 
so  glad  you  found  it. 

DETECTIVE.  Then  it's  yours  ?  Who  is  W  ?  Your 
name  is  Aragon,  I  believe. 

PRINCESS.    I  am  Maria  Theresa  of  Aragon. 

DETECTIVE.    But  who  is  W  ? 

PRINCESS.  Why,  er,  it  isn't  W — you  had  it  upside 
down.  It  is  M — Maria  Theresa. 

DETECTIVE.  That's  all  right,  ma'am.  Now  there's 
just  one  thing  more. 

DUKE.  (Cross  and  touch  DETECTIVE  on  arm) 
You  will  pardon  me,  but  I  wish  to  inform  you  that 
this  man's  name  is  Warren 

DETECTIVE.  (Crossing  toward  him)  Say !  Who's 
conducting  this  inquiry,  you  er  me? 

DUKE.     But,  my  dear  man 

DETECTIVE.  I  am  not  your  dear  man.  Cut  that! 
You  get  out  of  here.  (Forces  him  toward  door.) 

PRINCESS.  Yes,  do  go,  Carlos.  Leave  us  to  at- 
tend to  this  matter.  I  am  sure  we  can  finish  this 
better  without  you. 

DUKE.     I  merely  wished  to  point  out 

DETECTIVE.      (Interrupting   and   hustling    DUKE 


THE   GHOST   BREAKER  35 

out)  You  hear  what  the  lady  says.  (SECOND  DE- 
TECTIVE cross  to  DUKE.)  Cut  it,  or  out  yer  goes, 
and  if  ye  butt  in  again  I'll  fan  yer.  Do  you  hear? 
(SECOND  DETECTIVE  slaps  DUKE  on  arm,  motions 
him  to  door  R.) 

DUKE.  (At  door)  Infernal  outrage !  1  shall  re- 
port this  to  the  King ! 

DETECTIVE.  To  the  King,  huh?  Did  you  get 
that,  Tom?  Well,  what  do  you  know  about  that? 
(SECOND  DETECTIVE  closes  door.) 

JARVIS.  Don't  be  disturbed,  gentlemen ;  he's  quite 
harmless.  You  heard  him  talking  about  the  King — 
he  suffers  from  Regalmania.  He  has  grandiose 
ideas. 

DETECTIVE.  (Aside)  What  does  that  mean, 
Tom? 

SECOND  DETECTIVE.  (With  gesture  to  head) 
Wheels. 

DETECTIVE.    You  mean  he  is  crazy  ? 

JARVIS.  Yes,  he  is  at  times;  but  he  is  not  at  all 
dangerous. 

DETECTIVE.    You  lookin'  out  for  him? 

JARVIS.     Yes,  that's  my  job. 

DETECTIVE.  Sorry  I  had  to  be  rough  with  him 
like  that,  Miss,  but  you  saw  he  was  gumming  the 
game.  I'm  going  back  to  New  York  in  the  pilot 
boat  shortly  and  there  wasn't  no  time  to  waste.  Now 
just  one  question  more.  How  do  you  account  for 
the  blood  on  that  knob  of  your  door? 

PRINCESS.     Blood,  on  my  door Why,  I 

JARVIS.     I  think  I  can  explain  that,  Inspector. 

DETECTIVE.    Go  ahead,  then. 

JARVIS.     (Cross  c.)    Allow  me. 

PRINCESS.     Certainly. 

JARVIS.  The  colored  man,  the  one  you  were  talk- 
ing about,  the  one  who  brought  the  bundle,  that 
bundle  there,  carelessly  broke  the  blade  of  that  knife 


36  THE   GHOST   BREAKER 

and  cut  his  hand.  That  was  it,  wasn't  it?  You  see 
the  large  blade  is  snapped  off  near  the  handle. 

DETECTIVE.    Where  is  this  colored  man  now? 

PRINCESS.     He  is  in  stateroom  729. 

DETECTIVE.  All  right,  I  will  just  take  a  look  at 
him.  729?  Sorry  to  bother  you.  They  was  the 
Chief's  orders.  Good-bye.  (Exit.) 

PRINCESS.    But  his  hand  isn't  cut. 

JARVIS.  (Cross  to  'phone)  No,  not  yet — but  it 
soon  will  be.  Hello,  give  me  729.  (Pause.)  Hello, 
hello,  hello,  Rusty  ?  Damn  it  all,  answer  me,  do  you 
hear  me?  (Pause.)  Yes,  I  know  I  did,  but  I  am 
telling  you  to  talk  now.  Do  just  what  I  tell  you 
and  do  it  quick.  Take  your  knife  and  cut  your  left 
hand.  What?  No,  no,  you  a — damned  fool,  don't 
cut  it  off,  but  just  enough  to  make  it  bleed  a  little 
and  then  tie  it  up  with  a  handkerchief.  Never 
mind.  Do  it  quick,  and  remember,  don't  answer 
questions.  You're  deaf  and  dumb  again.  (Hangs 
up  receiver  and  turns  to  PRINCESS.)  By  gee,  you're 
game!  You  certainly  buffaloed  that  Detective. 
Then  your  cousin  Carlos  broke  in  at  the  psychologi- 
cal moment  to  scatter  their  gum-shoe  wits.  (Laugh.) 

PRINCESS.    They  believe  he's  crazy. 

JARVIS.  That's  just  it.  Now  they  won't  listen  to 
him.  Yes,  he'll  be  crazy,  all  right.  Do  you  think 
you  can  handle  him? 

PRINCESS.    Yes,  you  have  your  hand  dressed. 

JARVIS.  Then  I'll  hunt  up  the  ship's  surgeon — 
and  be  back  directly.  Gee,  you're  game !  (Cross  to 
door  R.  DUKE  enters  at  door  R.  JARVIS  turns.) 
Crazy!  That's  funny!  (JARVIS  exits,  laughing.) 

DUKE.  (Showing  suppressed  emotion,  stands  R.c. 
glaring  at  PRINCESS)  Well! 

PRINCESS.    Well ! 

DUKE.    Well,  I'm  waiting! 

PRINCESS.     For  what,  Carlos? 


THE   GHOST   BREAKER  37 

DUKE.  For  some  explanation.  Who  is  this  man 
Warren  ? 

PRINCESS.  He  is  a  professional  ghost  breaker,  as 
he  explained. 

DUKE.     How  did  you  find  him? 

PRINCESS.     I  met  him  quite  by  accident. 

DUKE.    What  do  you  know  about  him? 

PRINCESS.  Why,  he  is  as  well  known  in  America 
as  you  are  in  Spain. 

DUKE.  Indeed !  (Cross  to  center.)  Well,  he  will 
be  better  known  when  I  turn  him  over  to  the  police. 

PRINCESS.     Why,  Carlos,  what  do  you  mean? 

DUKE.  I  think  you  know  that  which  I  mean, 
Maria.  (DETECTIVE  sticks  head  in  door.) 

DETECTIVE.  It's  all  right,  Madame,  but  you  might 
have  told  us  that  your  nigger  was  a  dummy. 

DUKE.  (To  PRINCESS)  One  moment,  gentlemen, 
one  moment.  (DETECTIVES  enter.)  If  this  person 
is  famous,  these  gentlemen  should  know  him.  Do 
you  know  Warren,  the  Ghost  Breaker? 

DETECTIVE.     The  what? 

DUKE.     The  Ghost  Breaker ! 

DETECTIVE.  (Both  grinning)  He's  off  again, 
Tom.  (Enter  JARVIS.) 

DUKE.  Now  we'll  see.  Is  this  man  Warren,  the 
Ghost  Breaker?  (WARREN  winks  at  DETECTIVES.) 

DETECTIVE.  (To  SECOND  DETECTIVE)  He's  hip, 
all  right. 

JARVIS.     Agree  with  anything  he  says. 

DUKE.  (Furiously)  Answer  my  question — is 
this  man  Warren,  the  Ghost  Breaker? 

DETECTIVE.  Now,  that's  all  right,  Dock.  Sure 
he's  a  Ghost  Breaker,  ain't  he,  Tom? 

SECOND  DETECTIVE.    Surest  thing  you  know. 

DUKE.  Sacristi,  am  I,  Carlos  Hernando  D'Alva, 
to  be  mocked  at  by  two  grinning,  bull-necked  scul- 
lions? (Ship's  officer  appears  in  door.) 


38  THE   GHOST   BREAKER 

SHIP'S  OFFICER.  Hurry  up,  there,  if  you're  going 
ashore  with  the  pilot ! 

DETECTIVES.  (As  they  go  through  door)  You're 
all  right,  Book,  old  boy !  Ghost  Breaker !  Ha,  ha ! 
(They  exit.) 

DUKE.  (Crossing  toward  door)  I'll  see  the  Cap- 
tain. 

JARVIS.  (Back  against  door)  I  think  not  just 
yet! 

CURTAIN 


ACT   III 


SCENE  :  The  main  room  of  an  Old  Spanish  tavern, 
Segura,  Spain.  Singing  and  mandolins  heard 
from,  Wine  Room. 

AT  RISE,,  MAXIMO,  an  old  discharged  Spanish  vet- 
eran, and  CASPAR,  a  villager,  discovered  playing 
cards  at  table  down  c.  This  continues  some 
time.  MAXIMO  slaps  down  cards  exultantly, 
leans  back  in  chair  and  laughs.  CASPAR  stares 
peevishly  at  cards. 

DOLORES  discovered  gazing  out  of  window,  D.L.  En- 
ter VARDOS,  old  follower  of  PRINCE  BASILLIO, 
C.L.,  carrying  basket,  covered  by  lid  or  napkin. 
Seeing  DOLORES.  Spaniard  on  steps. 

Lights  full  up,  amber  and  white.  Blue  lights  behind 
in  windows,  R.  and  L. 

VARDOS.    Still  watching  for  a  signal,  Senorita  ? 

DOLORES.  (Turning  to  VARDOS)  Yes,  Vardos. 
Have  you  any  news  ? 

VARDOS.  Nothing.  Here's  the  basket  of  food  un- 
touched as  usual.  This  is  the  fifteenth  night. 

DOLORES.  Once  tonight  I  thought  I  saw  a  light  in 
the  tower,  Vardos. 

VARDOS.  If  you  did,  Senorita,  it  was  an  unblessed 
flame. 

DOLORES.  You  haven't  given  up  hope,  have  you, 
Vardos  ? 

VARDOS.  I  gave  up  hope  when  the  Prince  went 
into  the  castle.  Tonight  I  waited  till  an  hour  past 
sundown,  and  twice  I  called.  Once  a  wail  came  back 

39 


40  THE   GHOST   BREAKER 

to  me.  It  sounded  like  a  sigh  of  the  damned.  When 
I  called  the  second  time,  something  moved  in  the  tur- 
ret of  the  keep,  like  a  man  waving;  and  my  heart 
leaped  for  joy.  Then,  with  a  harsh  cry,  a  black, 
ugly  bird  flew  from  the  turret  straight  toward  where 
the  sun  had  set — on  my  left,  mind  you,  the  sinister 
side,  the  left,  the  left!  (Castanets  heard  off  stage, 
left.) 

DOLORES.    Oh,  if  her  Highness  were  only  here. 

VARDOS.     What  can  she  do  ? 

DOLORES.  She  would  go  straight  to  the  castle,  and 
will  Segura  have  it  said  that  they  let  her  go  alone  as 
they  did  the  Prince? 

VARDOS.  God  forbid  it  should  come  to  that. 
(Gives  basket.)  Good  night,  Senorita.  (Start  for 
door  down  Rj 

DOLORES.  Good  night — (Crosses  c.) — Vardos. 
You  will  go  again  tomorrow  night? 

VARDOS.  Yes,  Senorita,  willingly,  until  I  know  it 
is  useless.  (Off  stage  voice:  "Bravo,  Senorita!") 
Good  night!  (Off  stage  voice:  "Bravo,  Senorita!" 
Laughing  and  clapping  of  hands.  Exit  c.  VAR- 
DOS.) 

(Exit  MAXIMO,  CASPAR  and  SPANIARD,  door  R. 
DOLORES  lifts  napkin  and  looks  into  basket; 
crosses  and  exits  D.R.  Enter  door  L.C.  ROB- 
LEDO;  stands,  looks  about  insolently  for  a  sec- 
ond.) 

ROBLEDO.  Eh — hey,  you,  Pedro !  (Receiving  no 
answer,  he  crosses  to  table  L.C.,  bangs  crop  on  table 
and  shouts  again.)  Hey,  you,  Pedro!  What's  the 
matter  here  ?  Where  are  you  ?  (Enter  PEDRO,  doer 
R.  Seeing  ROBLEDO,  is  immediately  scared  and  anx- 
ious to  please.) 

PEDRO.    Oh,  Senor  Robledo ! 


THE   GHOST   BREAKER  41 

ROBLEDO.  Wake  up!  What's  the  matter  with 
you? 

PEDRO.  One  thousand  pardons,  Senor.  What  can 
I  do  for  you  ? 

ROBLEDO.  My  horse  is  outside ;  he  has  had  a  hard 
ride.  Wash  him  off,  and  don't  give  him  any  water 
until  he  is  cool. 

PEDRO.  Yes,  Senor,  it  shall  be  just  as  you  say. 
(Starting.) 

ROBLEDO.  And  leave  the  saddle  on.  I  may  want 
to  use  him  again. 

PEDRO.  Yes,  Senor.  Yes,  Senor.  (Starts  toward 
door  c.  ROBLEDO  halts  him.) 

ROBLEDO.    Where  is  your  daughter? 

PEDRO.  I  will  call  her,  Senor.  (He  crosses  to 
door  R.,  calling.)  Dolores,  Dolores !  She  will  come, 
Senor.  She  will  come.  (Cross  to  door  L.C.) 

ROBLEDO.    And,  Pedro 

PEDRO.    Yes,  Senor 

ROBLEDO.  If  that  rat-infested  larder  of  yours  is 
empty,  get  it  filled  before  the  Duke  arrives. 

PEDRO.    The  Duke  coming  here,  Senor !    When  ? 

ROBLEDO.  Tonight!  Don't  stand  and  stare. 
Hurry  up  and  see  to  my  horse. 

PEDRO.  Yes,  Senor.  Yes,  Senor.  (Exit  door 
L.C.  DOLORES  entering  n.) 

DOLORES.  Yes,  Father?  (Sees  ROBLEDO.)  Oh, 
it's  you. 

ROBLEDO.  (Pause — cross  toward  her)  Well,  well ! 
Can't  you  say  you're  glad  to  see  me  ? 

DOLORES.   I  can,  but  I  won't.  Where's  my  father? 

ROBLEDO.  Never  mind  your  father.  I  want  to 
talk  to  you. 

DOLORES.  You  do  ?  Well,  you  won't  in  that  tone. 
(Start  to  cross  left.) 

ROBLEDO.  (Intercepting  her  c.)  I  won't  hey?— 
And  why  not  ?  You  little  spit-fire ! 

DOLORES.     What  do  you  want  to  say  to  me  ? 


42  THE   GHOST   BREAKER 

ROBLEDO.  You  little  devil !  (She  starts  away;  he 
grasps  her  wrist.)  Come  here !  (Throws  her  quick- 
ly and  easily  around  stage  L.,  still  holding  her  wrist.) 
Say,  what's  come  over  you  these  days?  You  are 
about  as  fond  of  me  and  as  sweet  tempered  as  a 
tigress.  What  have  I  done  ? 

DOLORES.  It  is  what  you  have  not  done,  Don  Rob- 
ledo.  For  fifteen  days  your  Prince  has  been  in  need 
of  you  and  you  have  not  had  the  courage  to  go  to 
him.  (Enter  MAXIMO  door  R.  and  beckons  CASPAR 
and  VILLAGERS  up.)  Let  go  my  wrist!  (Struggl- 
ing. MAXIMO,  CASPAR  and  VILLAGERS  watch  end 
of  scene.)  Let  go  my  wrist ! 

ROBLEDO.  Wait  a  minute !  Wait  a  minute !  You 
can't  get  away.  Do  not  try.  (She  strikes  him,  frees 
herself  and  crosses  L.  to  window.)  You  little  cat, 
I'll  trim  those  claws !  (VILLAGERS  laugh.  MAXIMO 
nudges  CASPAR.) 

CASPAR.    Sh !  sh !  sh !    Look  out ! 

ROBLEDO.  (To  them)  Well,  what  are  you  laugh- 
ing at? 

MAXIMO.    Why,  why (Stammering.) 

CASPAR.    A  jest  in  the  wine  room,  Senor. 

ROBLEDO.  Huh!  Lucky  for  you!  Get  out  of 
my  way !  (Pushes  them  aside  and  swaggers  through 
door  K.) 

DOLORES.  Caspar !  Maximo !  Come  here  quick- 
ly! 

MAXIMO.     (Crossing  to  DOLORES)     What  is  it? 

CASPAR.  What  is  the  matter  ?  (Crossing  to  DO- 
LORES.) 

DOLORES.    A  light !    A  light  in  the  castle ! 

CASPAR.     I  thought  I  saw  it  a  while  ago. 

MAXIMO.    I  don't  see  it. 

DOLORES.  But  I  tell  you  I  did  see  it.  (She  runs 
R.C.,  calling)  Father — Father — come  quickly. 

PEDRO.  (Entering  R.)  What  is  it  ?  What  are  you 
looking  at?  (Cross  c.) 


THE   GHOST   BREAKER  43 

DOLORES.  (L.C.,  pointing  out  window)  A  light — 
a  light  in  the  castle.  I  saw  it ! 

PEDRO.  (Going  to  window)  Nombre  de  Dios. 
(MAXIMO  and  CASPAR  back  to  L.c.J 

DOLORES,  (c.  to  CASPAR  and  MAXIMO)  Well, 
why  don't  you  do  something?  Are  you  going  to 
stand  there  like  scared  sheep,  and  let  a  man,  your 
Prince,  signal  to  you  in  vain  ? 

ROBLEDO.  Who's  the  little  devil  tearing  to  pieces 
now?  (c.  cross  to  DOLORES.) 

DOLORES.  You,  Don  Robledo,  sword-fighter,  tore- 
ador, fire-eater,  hero  of  a  hundred  duels — you — Don 
Robledo — coward !  (He  chucks  DOLORES  under  the 
chin.  She  throws  his  hand  off.)  I  asked  you  to 
go  into  the  castle  and  rescue  your  Prince.  I  ask 
you  now  to  answer  the  signal  that  I  just  saw  in  the 
tower  window.  Perhaps  your  Prince  has  just 
crawled  to  that  tower  window  where  he  can  see  our 
lights.  Perhaps  he  has  burned  something,  a  scrap 
of  paper,  in  the  hope  that  some  of  you  gentlemen 
would  notice  it  and  come  to  his  assistance,  but  he 
doesn't  know  what  cowards  you  are  or  he  wouldn't 
have  wasted  his  matches.  Don  Robledo — coward ! 

ROBLEDO.  Coward,  never!  A  fair  fight  in  the 
open  and  I'll  meet  the  best  man  that  walks  the  earth. 
(Turns  to  VILLAGERS.)  Any  two  or  three!  (To 
table  L.J 

DOLORES.  I  don't  ask  you  to  kill  one  or  two  or 
three  of  these  poor  whimpering  sheep!  I  ask  you 
to  dare  something.  (DuKE  enters  c.)  I  ask  you 
and  these  gentlemen — (Point  to  VILLAGERS) — to  go 
to  the  aid  of  your  Prince — and  there  isn't  a  man 
among  you  who  dares !  God,  how  I  could  love  such 
a  man! 

DUKE.  (Down  c.,  sarcastically  to  DOLORES)  A 
pretty  speech,  Senorita! 

ROBLEDO.  (Seeing  DUKE,  removes  hat  and  bows) 
Your  Excellency! 


44  THE   GHOST   BREAKER 

CASPAR.  The  Duke  D'Alva!  (VILLAGERS  re- 
move hats  and  bow  to  DUKE.) 

PEDRO.    His  Excellency ! 

VILLAGERS.    The  Duke,  His  Excellency,  etc. 

DUKE.  Charming  sentiments  you  express  for 
your  fellow  townsmen,  whose  healthy  common-sense 
prevents  them  from  rushing  to  a  fool's  death.  Still, 
all  fools  are  not  dead  yet.  One  of  them  will  be 
here  tonight.  And  you,  Senorita,  will  doubtless  be 
pleased  to  look  upon  him,  as  he  has  come  all  the  way 
from  America  for  the  privilege  of  entering  the  castle 
and  playing  your  hero. 

DOLORES.  (To  ROBLEDO)  And  did  her  Highness 
have  to  go  all  the  way  to  America  to  find  him  ? 

DUKE.  Yes,  he's  from  America,  where  all  the 
fools  come  from.  (Everybody  laughs  but  DOLORES. 

To  ROBLEDO)     A  word  with  you  alone,  Senor. 

i 

(ROBLEDO  looks  at  CASPAR  and  MAXIMO.  PEDRO, 
scared,  motions  VILLAGERS  off  to  R.  PEDRO, 
MAXIMO  and  VILLAGERS  exit  door  *..) 

DOLORES.     Can  I  get  your  Excellency  anything? 

DUKE.  Don't  mind  me.  I'll  look  out  for  myself. 
Her  Highness  will  be  here  very  soon  and  will  doubt- 
less remain  here  for  the  night.  I  drove  ahead  to 
prepare  you. 

DOLORES.  Yes,  your  Excellency !  (Bowing — exit 
door  R.J 

DUKE.  (Half  sits  on  table  L.,  watches  DOLORES 
off.  To  ROBLEDO)  You've  got  work  before  you — 
Robledo. 

ROBLEDO.    (Center)    I'm  ready,  Excellency. 

DUKE.  (Rising,  across  to  ROBLEDO)  Yes,  but  this 
American  may  be  dangerous. 

ROBLEDO.     In  what  way? 

DUKE.  Unless  he  is  stopped  he  will  go  into  that 
castle  tonight — and  I  look  upon  you  to  stop  him. 


THE  GHOST  BREAKER  45 

He  is  connng  here  to  solve  the  mystery  and  to  find 
the  Prince.  I  shall  endeavor  to  stop  him,  but  if  I 
fail,  Robledo,  it  rests  with  you. 

ROBLEDO.  I  can  assure  your  Excellency  I  will  con- 
vince the  American  that  his  presence  in  the  castle 
tonight  is  quite  unnecessary.  Have  you  any  instruc- 
tions ? 

DUKE.  Any  way  you  please,  Robledo — means  are 
of  no  consequence  in  this  world.  What  I  want  is  re- 
sults. Only  don't  underestimate  your  man.  He  will 
shoot,  and  I  think  he  will  shoot  quick. 

ROBLEDO.  Good !  (Enter  PEDRO  door  R.  with  tray 
and  bottles  and  two  glasses.  Cross  and  put  them  on 
table  up  c.) 

DUKE.  (Taking  coin  from  pocket)  Here,  take 
this  and  have  them  drink  to  my  health  and  that  of 
her  Highness !  (ROBLEDO  bows  and  exits  R.) 

PEDRO.  Is  there  anything  else  your  Excellency 
desires  ? 

DUKE.  Yes,  hot  water,  soap  and  towels.  (Looks 
at  hands.) 

PEDRO.  This  way,  your  Excellency.  (Exit  DUKE 
and  PEDRO  upstairs  and  off  L.) 

ROBLEDO.  (Heard  off  stage  R.)  To  his  Gracious 
Excellency,  the  Duke  D'Alva! 

VILLAGERS.  (Offstage)  The  Duke!  The  Duke! 
The  Duke ! 

(Enter  DOLORES  R.,  crossing  to  window  L.) 

ROBLEDO.  Louder,  you  beggars,  louder,  or  I'll 
give  you  something  to  yell  for ! 

VILLAGERS.  (Much  louder)  The  Duke!  The 
Duke !  Long  live  the  Duke !  The  Duke !  etc. 

(Lights  seen  of  automobile  approaching.) 


46  THE   GHOST   BREAKER 

DOLORES.  Her  Highness!  (Calls)  Father! 
Father ! 

PEDRO.     (Entering)     What  is  it,  Dolores? 

DOLORES.    Quick !    Her  Highness  is  here ! 

PEDRO.  Her  Highness !  (He  bustles  downstairs.) 
Her  Highness!  (Calls  off  R.)  Her  Highness! 

(VILLAGERS  enter  door  R.  Enter  PRINCESS,  NITA 
and  JOSE  in  motor  clothes.  PRINCESS  comes  c. 
JOSE  door  L.  NITA  left  center  up  stage.  DOLO- 
RES L.C.  PEDRO  right  center,  c.  VILLAGERS  in 
door  R.,  bowing  low.) 

PEDRO.  Your  Highness  does  my  humble  inn  great 
honor (VILLAGERS  bow.) 

PRINCESS.  Thank  you.  (She  nods  to  VILLAG- 
ERS, extends  her  hand  to  DOLORES,  who  carries  it  to 
her  lips,  curtseying.) 

DOLORES.  Your  gracious  Highness,  we  are  ill  pre- 
pared for  this  great  favor.  Your  exalted  cousin 
gave  but  short  warning  of  your  coming. 

PRINCESS.  My  child,  any  place  to  remove  the  dust 
of  travel  will  do  for  the  present.  Jose,  I  shall  want 
the  car  later. 

NITA.  fL.cJ  Your  Highness  is  not  thinking  of 
going  on  to  the  castle  tonight  ? 

PRINCESS.    I  must  have  news. 

NITA.  But  you're  all  worn  out.  You're  all  un- 
strung. 

PRINCESS.  When  Mr.  Warren  comes,  tell  him  I 
will  be  down  directly. 

DOLORES.  I  will  tell  the  Senor  American,  your 
Highness. 

PRINCESS.  Thank  you.  (Exit  PRINCESS  and 
NITA,  PEDRO  showing  them  upstairs.) 

(Enter  JARVIS  D.C.,  followed  by  RUSTY,  both  carry- 
ing suitcases.  DOLORES  bows.  RUSTY  comes  to 


THE   GHOST   BREAKER  47 

DOLORES.     JARVIS  L.C.    RUSTY  crosses  JAKVTS 
to  L.     DOLORES  returns  bow.) 

DOLORES.     Gentlemen — a  man! 

JARVIS.  Rusty,  we're  discovered !  Did  you  by  any 
chance  address  me,  Senorita  ? 

DOLORES.  I  called  the  attention  of  these  valiant 
gentlemen  of  Segura  to  the  only  man  who  dares  to 
enter  the  castle. 

JARVIS.     How  did  you  know  ? 

DOLORES.    All  Segura  knows  by  this  time. 

(Enter  ROBLEDO  door  R.,  pushing  through  VILLAG- 
ERS; DOLORES  tries  to  stop  him;  he  pushes  her 
aside,  swaggering  toward  JARVIS.) 

ROBLEDO.     So  you're  the  brave  American,  Senor  ? 

JARVIS.  I'm  an  American.  (Turning  to  RUSTY 
on  L.J  Here's  another  one.  (  RUSTY  salutes.) 
We're  both  Americans. 

ROBLEDO.  And  you  both  want  to  die?  ( RUSTY 
makes  wry  fa-ce  and  big  eyes.) 

JARVIS.  (L..C.)  Well,  I'm  not  really  anxious 
about  it,  Senor. 

ROBLEDO.    Better  keep  out  of  the  castle,  then. 

JARVIS.  Oh,  you  mean  that  ghost?  Oh,  I'm  not 
afraid  of  a  little  thing  like  that,  Senor. 

ROBLEDO.  No?  (Turns  to  DOLORES  c.)  Well, 
Senorita,  we  gentlemen  of  Segura  will  drink  to  your 
American.  (To  JARVIS)  The  maddest  fool  that 
ever  came  to  Spain!  (ROBLEDO  crosses  to  DOLORES, 
chucks  her  under  chin,  laughing.  DOLORES  throws 
his  hand  off ;  motions  VILLAGERS  off,  and  exits  after 
them.  JARVIS  and  RUSTY  watch  them  off.) 

RUSTY.     He's  a  nice  man. 

JARVIS.  Pile  the  bags  up  there,  Rusty.  (Put  bags 
on  table  L.) 

RUSTY.    Yas,  sir. 


48  THE   GHOST   BREAKER 

JARVIS.  Looks  like  we  were  in  for  a  warm  recep- 
tion. 

RUSTY.  Yas,  sir,  'tis  a  trifle  warm.  (Crosses  be- 
low table  L.,  back  to  audience.) 

DOLORES.  Pardon,  Senor.  Her  Highness  wishes 
me  to  tell  you  that  she  will  be  down  directly. 

JARVIS.  Thank  you,  Senorita,  and  who,  may  I 
ask,  was  the  cheerful  individual  that  flattered  me 
with  such  a  toast? 

DOLORES.  (At  c.,  looking  after  ROBLEDO — crosses 
to  JARVIS)  Don  Robledo,  Senor. 

JARVIS.  Don  Robledo — sounds  dangerous,  but 
doesn't  mean  much  to  me. 

DOLORES.  It  may  mean  much  before  you  reach 
the  castle.  Let  me  tell  you  something.  Quick,  your 
hand,  Senor !  No,  the  other  one.  (Grasps  his  hand.) 
I'll  pretend  to  read  your  palm.  Every  one  of  those 
breaks  in  your  life-line  means  a  moment  when  you 
stood  face  to  face  with  death,  and  yet,  see  those  little 
squares  of  protection  around  each  break!  Senor 
American,  there  is  one  break  which  you  have  not  yet 
reached,  and  the  protecting  square  is  not  perfect  like 
the  others. 

JARVIS.  I  reckon  that  square  will  take  care  of 
itself  when  the  time  comes. 

DOLORES.    But  the  time  is  now,  Senor. 

JARVIS.  So — and  are  the  senorita's  eyes  so  sharp 
that  she  can  tell  the  day  and  the  hour? 

DOLORES.  Not  my  eyes,  Senor  American,  but  my 
ears.  (DuKE  comes  downstairs.)  In  all  my  experi- 
ence I  have  seen  but  one  hand  like  yours — it  speaks 
of  danger,  and  that  hand  belongs  to  Don  Robledo. 

DUKE.    (Still  on  stairs)    Well,  Mr.  Warren ! 

DOLORES.  Pardon,  Senor!  (Curtsies  to  JARVIS 
and  steps  back  from  him.) 

JARVIS.  Good-bye,  Senorita.  Many  thanks  for 
your  occult  wisdom.  I'll  take  good  care  of  that  little 


THE  GHOST  BREAKER  49 

square.  (DOLORES  crosses,  bows  to  DUKE,  exits  *., 
closing  door.) 

DUKE.  (Coming  down)  Well,  Mr.  Warren, 
looking  into  the  future?  (Lays  coat  on  table  c. 
JARVIS  L.C.J 

JARVIS.  Yes,  Duke.  The  immediate  future  prom- 
ises to  be  very  interesting.  A  dark  man  is  to  cross 
my  path. 

DUKE.    CR.C.J    Do  you  believe  in  such  foolery? 

JARVIS.  I  like  to,  on  this  occasion,  for  I  hope  it 
means  someone  I  very  much  want  to  meet. 

DUKE.  Mr.  Warren,  I  feel  a  certain  responsibil- 
ity for  Her  Highness'  actions,  and  the  prospect  of 
your  death  tonight  is  most  uncomfortable. 

JARVIS.     You  think  I  won't  come  back? 

DUKE.  I  think  if  you  go  to  that  castle  tonight  you 
take  your  life  in  your  hands. 

JARVIS.    I've  got  a  pretty  good  grip. 

DUKE.  Look  here.  You  Americans  are  shrewd 
traders.  You  get  dollar  for  dollar  when  you  bar- 
gain. You  are  not  giving  away  your  life  for  noth- 
ing. Now,  what  was  the  price  ? 

JARVIS.  Oh,  not  very  much.  The  deal  was  made 
on  bargain  day.  My  life  happened  to  be  a  little 
below  par. 

DUKE.  Very  well,  I  will  release  you  from  your 
end  of  the  bargain. 

JARVIS.  Your  Excellency,  I  am  overwhelmed,  but 
the  price  is  paid  and  we're  on  the  job,  aren't  we, 
Rusty? 

RUSTY.    Yas,  sir,  we  most  certainly  is ! 

DUKE.  I  suppose  that  means  that  you  will  keep 
faith  with  Her  Highness  ? 

JARVIS.    Yes. 

DUKE.  I  never  saw  a  man  quite  so  anxious  to  be 
killed;  but  there  it  is:  Fools  rush  in  where  angels 
fear  to  tread. 


50  THE  GHOST   BREAKER 

JARVIS.  I'd  rather  be  an  energetic  fool  than  an 
angel  with  cold  feet. 

DUKE.     I  am  sorry  for  you. 

JARVIS.  (Crossing  to  DUKE)  Your  Excellency, 
I  decline  your  offer  and  your  advice  and  your  sym- 
pathy, and  I'll  tell  you  why.  I  once  saw  a  gambler 
lay  down  four  aces.  Just  think  of  it :  four  fat  aces. 
He  looked  the  dealer  straight  in  the  eye  and  said: 
"The  play  ain't  natural."  Now,  you  tried  to  have 
me  arrested  on  the  steamer,  you  have  tried  to  block 
me  in  every  move  I  have  made.  Now,  all  of  a  sud- 
den you  express  the  utmost  anxiety  as  to  what's  go- 
ing to  happen  to  me  in  the  castle.  You  even  offer 
to  buy  me  off.  You  advise  me  to  stay  out.  Shall  I 
take  your  advice  ?  No.  "The  play  ain't  natural." 

DUKE.  You  have  intruded  into  a  matter  which 
you  neither  understand  nor  appreciate.  If,  as  you 
say,  the  play  seems  unnatural,  throw  the  cards  and 
stay  out  of  the  game. 

JARVIS.  No,  I'll  stay  right  in  the  game,  but  I  am 
going  to  watch  the  dealer.  Well,  come  along,  Rusty. 
(Cross  to  RUSTY.)  Let's  see  if  we  can  find  the 
landlord.  (Picking  up  bags.) 

RUSTY.    I'd  like  to  find  a  piece  of  chicken. 

JARVIS.  Chicken,  Rusty?  What  put  that  in  your 
head? 

RUSTY.    I's  powerful  hungry,  Marse  Warren. 

JARVIS.    What — again  ? 

RUSTY.    No,  sir — it's  the  same  old  hunger. 

JARVIS.  Well,  Rusty,  you  are  not  going  to  get 
anything  to  eat  until  we  finish  the  job. 

RUSTY.  Good  Lord,  have  I  got  to  wait  till  you're 
dead  before  I  eat?  (They  start  with  bags  to  cross 
to  stairway.  Enter  PRINCESS  on  stairs.) 

DUKE.  Well,  all  Segura  will  be  buzzing  with 
your  ghost  hunt  tonight.  The  whole  town  will  sit 
up  to  hear  of  the  outcome. 


THE  GHOST   BREAKER  51 

JARVIS.  And  where  are  you  going  to  get  the  re- 
turns, Duke? 

DUKE.  Unfortunately,  I  must  leave  at  once.  I 
have  an  urgent  summons  to  Madrid. 

JARVIS.  Well,  that's  too  bad.  I'm  sorry  you're 
leaving  us.  Won't  you  even  be  around  at  the  finish, 
your  Excellency? 

DUKE.     I  am  sorry,  Mr.  Warren,  but  I  must  go. 

JARVIS.     Well,  I  call  that  a  shame. 

PRINCESS.  (Coming  downstairs — to  PEDRO  enter- 
ing R.J  Pedro,  this  is  Mr.  Warren.  Attend  to  his 
wants. 

PEDRO.  (Bowing)  Yes,  your  Highness !  (PRIN- 
CESS crosses  L.C.  PEDRO  goes  upstairs.)  This  way. 
(JARVIS  and  RUSTY  following  PEDRO  upstairs.) 

JARVIS.  Your  Highness,  I'd  like  a  couple  of  good 
horses  and  two  good  lanterns. 

PRINCESS.     Pedro. 

PEDRO.    Yes,  your  Highness.     (PEDRO  exits.) 

DUKE.  Lanterns?  Looking  for  an  honest  man, 
Mr.  Warren?  (c.  Lays  hat  on  table  c.) 

JARVIS.  (Over  banister)  Not  in  this  neck  of  the 
woods,  your  Excellency.  (Exit  JARVIS  and  RUSTY.) 

PRINCESS.  Carlos,  what  news  of  my  brother  have 
you  heard? 

DUKE.    (L.C.)    Nothing,  Maria. 

PRINCESS.     And  yet  you  are  leaving  for  Madrid. 

DUKE.     The  message  is  from  His  Majesty. 

PRINCESS.     But  why  must  you  go  so  soon? 

DUKE.    You  know  my  ride  is  a  long  one. 

PRINCESS.  But,  Carlos,  my  brother  may  be  dying, 
dead — and  yet  you  have  not  the  time  and  the  cour- 
age to  help  me  find  him. 

DUKE.  What  need  of  me  ?  You  have  your  Ghost 
Breaker. 

PRINCESS.    So,  Carlos,  that  is  your  excuse? 

DUKE.  I  make  no  excuse,  Maria.  I  reed  none. 
That  Yankee  adventurer  stands  between  you  and 


52  THE   GHOST   BREAKER 

me.  Send  him  away,  and  I  will  do  anything  you 
ask.  I'll  put  off  my  journey  now  to  the  King.  I'll 
send  one  of  my  men  into  the  castle  to  find  your 
brother. 

PRINCESS.  Yes,  you  will  send  one  of  your  men — 
but  you  are  not  brave  enough  to  go  there  yourself. 
Yet  you  ask  me  to  send  away  this  man  who  of  all  is 
willing  to  sacrifice  even  his  life  for  me. 

DUKE.     If  he  stays,  I'll  go. 

PRINCESS.  Very  well,  then  you  force  me  to 
choose.  I  do.  I  choose  a  man. 

DUKE.     You  love  him? 

PRINCESS.    Perhaps.    (R.     Turns  away.) 

DUKE.  Well,  Maria,  you  are  sending  him  to  his 
death.  (Enter  JARVIS  on  stairs.)  Success  to  you, 
Mr.  Ghost  Breaker,  when  you  beard  the  spectre  in 
his  den.  (Takes  hat  and  coat  from  table.) 

JARVIS.  (Coming  downstairs)  Thank  you,  your 
Excellency.  (With  mock  dignity)  I'll  do  my  best. 
(Changes  expression.)  To  put  salt  on  the  spectre's 
tail. 

DUKE.  Good-bye !     (Exit  L.C.) 

JARVIS.    Good-bye. 

PRINCESS,  (c.)  Mr.  Warren,  we  must  start  at 
once. 

JARVIS.  Courage — if  your  brother  is  there,  I'll 
find  him.  You  must  be  patient  and  remain  here 
where  you  are  safe,  and  try  to  rest. 

PRINCESS.  I  cannot  rest  until  I  know  what  has 
happened  to  him.  I  shall  go  mad  if  I  am  left  alone. 

JARVIS.     But  it  is  not  safe  for  you  to  go. 

PRINCESS.  Nevertheless,  Mr.  Warren,  I  will  go 
to  my  brother  tonight. 

JARVIS.  Now,  my  dear  child!  (Pause.)  I  beg 
your  pardon,  but  please — oh,  please  let  me  insist  on 
one  condition. 

PRINCESS.    Name  it. 


THE   GHOST   BREAKER  53 

JARVIS.  Let  me  go  ahead  and  look  over  the 
ground.  I  will  signal  when  it  is  safe  to  follow. 

PRINCESS.     How  can  you  signal  ? 

JARVIS.  With  a  light — (Cross  to  window  Lj — 
from  one  of  those  towers.  You  can  see  it  from 
here.  You  won't  have  long  to  wait.  It  will  shine 
within  an  hour. 

PRINCESS.  (-L.C.)  But  if  you — if  it  does  not 
shine  ? 

JARVIS.  Well,  then  I'll  be  too  busy  swapping  lead 
for  brimstone  with  Mr.  Spook  to  stop  and  hang  a 
lantern. 

PRINCESS.  Oh,  but  you  are  brave!  You  must 
have  the  locket  with  the  memorandum.  (Start  to 
stairs.) 

JARVIS.     Yes,  of  course,  where  is  it? 

PRINCESS.  It's  in  my  room.  I  won't  be  long. 
(On  stairs.) 

JARVIS.  Suppose  you  give  me  that,  and  we'll  start 
at  once. 

PRINCESS.     Very  well.     (Exit  upstairs  and  off.) 

JARVIS.    (Calling)    Rusty !    Oh,  Rusty ! 

RUSTY.    (Off)     Yas,  sir!    Yas,  sir! 

JARVIS.  Bring  down  my  hat  and  coat.  We're 
starting. 

RUSTY.     Yas,  sir. 

JARVIS.  (L.C.)  I  wouldn't  change  places  with 
that  spook  for  all  the  gold — (Enter  RUSTY) — that 
she  thinks  is  in  that  castle.  (  RUSTY  comes  down 
with  hat  and  coat.)  Oh,  don't  hurry  like  that,  Rusty 
— I  hate  to  see  you  hurry. 

RUSTY.  (On  bottom  step)  I  smell  something 
cooking — smells  like  a  Spanish  pork  chop.  (Gives 
hat  and  coat  to  JARVIS.) 

PRINCESS.  (Calling  from  upstairs)  Mr.  War- 
ren— Mr.  Warren (Darts  up  steps;  is  met  half- 
way by  PRINCESS.)  Mr.  Warren 

JARVIS.    Well? 


54 

PRINCESS.     The  locket! 

JARVIS.    The  locket  gone? 

PRINCESS.    Yes. 

JARVIS.     And  the  memorandum? 

PRINCESS.     Gone,  too. 

JARVIS.    Quick,  Rusty !    The  horses  ! 

RUSTY.     Yas,  sir. 

JARVIS.     We've  no  time  to  lose. 

RUSTY.    Yas,  sir.    (Exits.) 

JARVIS.  (Both  on  stairs)  Your  Highness,  I've 
struck  the  first  trail  of  the  spook  that  is  haunting 
your  castle. 

PRINCESS.    You  think 

JARVIS.  I  think  your  cousin  has  not  gone  to  Ma- 
drid. Time  is  everything  now. 

PRINCESS.    You  know  the  way? 

JARVIS.    North  road — second  turn  to  the  right. 

PRINCESS.    Yes,  that  leads  to  the  postern  gate. 

(Enter  ROBLEDO — stands  in  arch  under  stairs,  re- 
volver drawn.) 

JARVIS.     I  understand.    (Starting.) 

PRINCESS.  Wait!  This  little  cross!  Will  you 
wear  it  for  me  tonight?  (Slips  chain  over  JARVIS' 
head.  ROBLEDO  looks  up  and  steps  back  in  alcove.) 

JARVIS.     Only  for  tonight  ? 

PRINCESS.    You  may  never  see  tomorrow. 

JARVIS.  If  I  don't  see  you  tomorrow,  forgive  me 
for  telling  you  tonight  that  I  love  you.  (Raises  hand 
to  stop  her  reply.)  Don't  rebuke  me  tonight.  Wait 
until  tomorrow,  if  tomorrow  ever  comes.  (Pause.) 
And  now  your  humble  vassal  goes  forth  in  his  lady's 
cause — and  while  all  Segura  waits,  ghosts  and  Ghost 
Breaker  shall  stalk  those  halls.  Your  Highness, 
within  the  hour  I  will  hang  your  signal  from  the 
castle.  (Carries  her  hands  to  his  lips.) 

PRINCESS.     God  be  with  you!     (Exits  upstairs.) 


THE  GHOST  BREAKER  55 

JAJIVIS.     (Watching  her  off)     Highness — High- 
ness     (Starts  to  go.    ROBLEDO  cocks  revolver. 

JARVIS  stops,  listens,  looks  around,  starts  to  fold 
coat,  whistles  "Dixie,"  moves  downstairs  until  near 
lamp,  throws  coat  at  lamp — lights  out.  Pause.  Two 
shots  are  fired  in  the  dark.  JARVIS  crosses  left  c. 
ROBLEDO  crosses  down  R.C.,  falls  on  second  shot. 
Pause.  JARVIS  whistles  "Dixie."  Exits  door  L.C.) 

CURTAIN 


ACT   IV 


SCENE:  The  Hall  of  the  Knights,  in  the  haunted 
castle.  On  walls  a  few  old  weapons,  thick  dust 
everywhere.  Moonlight  streams  through  round 
window  high  in  wall  R.,  striking  picture.  Cur- 
tain rises  slowly  while  orchestra  plays  "I 
Dreamed  I  Dwelt  in  Marble  Halls."  Wind 
moans  through  grated  windows,  rats  squeal  and 
cross  moonlight  on  floor;  light  flickers  on  tower 
wall. 

(Enter  JARVIS  from,  door  L.  with  lantern  unlit — 
turns  and  calls  cautiously.) 

JARVIS.  Come  on  in,  Rusty.  (Enter  RUSTY  with 
lighted  lantern.)  They've  been  in  this  room.  Do 
you  smell  that,  Rusty?  (Cross  R.) 

RUSTY.  (L.C.)  Marse  Warren,  I'm  so  scared  I 
can't  smell  nothin'. 

JARVIS.  The  room's  full  of  it — somebody's  been 
carrying  a  smoky  lantern.  ( Dull  thud  off  left.) 

RUSTY.  Good  God  Almighty,  what's  that?  ( JAR- 
VIS  crosses  R.C.  over  table,  lights  lantern  and  then 
stands  looking  around  room.)  I  want  to  go  home ! 
(Put  lantern  down  c.) 

JARVIS.  (Looking  about)  We've  been  in  this 
room  before. 

RUSTY.  Is  this  where  that  poundin'  came  from? 
(Cross  c.  to  JARVIS.) 

JARVIS.  I  reckon  that  pounding  and  the  smoky 
lanterns  went  together.  (  RUSTY  sees  armor  on 

56 


THE   GHOST   BREAKER  5? 

stairs;  backs  into  JARVIS  and  sinks  to  knees;  head  on 
floor.) 

RUSTY.    O oh ! 

JARVIS.  (Whirls  with  gun  drawn)  What's  the 
matter  ? 

RUSTY.  (Pointing  to  armor  on  stairs)  Look — 
look — look  at  them  big  black  things — see  'em  stand- 
in'  there? 

JARVIS.  (Laughing;  putting  away  gun)  These 
are  the  same  black  things  that  scared  you  before — 
don't  you  remember? 

RUSTY.  I'm  so  scared  I  can't  remember  any- 
thing ! 

JARVIS.  They're  nothing  but  suits  of  armor.  Get 
up  on  your  pins  and  don't  you  bump  me  again. 
( RUSTY  rises.)  The  next  one  of  those  rear-end  col- 
lisions and  I'm  liable  to  let  some  moonlight  into  you. 
You've  been  treading  on  my  heels  ever  since  we 
came  in  here,  and  when  I  stop  you  bump  into  me. 

RUSTY.    I'm  powerful  scared  I  might  lose  you ! 

JARVIS.  A  fine  chance !  (Looking  about.)  Well, 
Rusty,  we've  been  through  this  old  castle  pretty 
thoroughly  now,  from  dungeon  to  tower,  and  not  a 
sign  of  the  Prince  or  the  Duke  or  any  one  else,  un- 
less they  pound  or  carry  a  smoky  lantern.  It's  a 
clue,  Rusty,  it's  a  clue.  We'll  stick  right  here  till 
we  find  out  where  it  leads.  I'll  swear  the  Duke 
never  went  to  Madrid,  but  came  straight  here  from 
the  inn.  QARVIS  crosses  to  fireplace  R.  RUSTY  fol- 
lows.) Get  away  from  me.  (Strikes  a  match  and 
holds  in  chimney.)  There's  a  fine  chance  for  a  fire. 
Good,  it  draws.  The  chimney's  clear.  Now,  then, 
bust  up  the  table  and  start  a  fire. 

RUSTY.    How  can  I  break  it  ?     Oh,  it's  rotten ! 

JARVIS.  You  won't  feel  half  so  scared  with  a  good 
blaze  behind  you.  (  RUSTY  pic  us  up  pieces  of  table.) 
I'll  scout  around  a  bit. 


58  THE   GHOST   BREAKER 

RUSTY.  (Drops  pieces  of  table)  Don't  you  do  no 
scoutin'  outside  this  room ! 

JARVIS.  Well,  come  on,  Rusty — get  busy  and 
build  that  fire. 

RUSTY.  (Dropping  to  floor  and  begins  fussing 
with  foot)  Just  as  soon  as  I  get  this  here  shoe  off. 

JARVIS.  (Looking  at  him)  What's  the  matter 
with  your  shoes  ?  (Cross  L.C.) 

RUSTY.  'Tain't  my  shoe — it's  my  foot.  You 
know  I  was  holdin'  them  horses  and  waitin'  and 
waitin'  for  you  to  come  out.  Dem  guns  went  off 
and  all  dem  horses  jumped  right  on  me. 

JARVIS.    There  were  only  two  horses,  Rusty. 

RUSTY.     I  was  countin'  their  feet. 

JARVIS.  Well,  tie  up  your  shoe  and  get  busy. 
(Looking  around.) 

RUSTY.  Yas,  sir.  (Rises,  picks  up  pieces  of 
table,  crosses  to  fireplace.) 

JARVIS.  This  room  was  probably  used  as  a  ban- 
quet hall. 

RUSTY.  (Gathering  up  few  pieces  of  table  and 
taking  them,  to  fireplace,  puts  them  on  fire;  looks 
up)  Yeah — when  we  goin'  to  eat? 

JARVIS.     Not  till  we  have  finished  this  job. 

RUSTY.  (Putting  pieces  of  table  on  fire — still  at 
fireplace,  back  to  audience)  Tuesday — Wednesday 
— Thursday Ah  can't  wait  no  longer  than  Sat- 
urday. (Strikes  match  and  lights  fire.  Glow  from, 
fire.) 

JARVIS.  (Runs  up  steps  at  back,  looking  left) 
That  way  leads  through  those  two  long  rooms  to  the 
postern  gate. 

RUSTY.  (Looking  up)  That's  where  that  black 
thing  followed  me.  (Crosses  to  JARVIS  L.C.  slowly.) 

JARVIS.  Well,  a  black  thing  followed  me,  tread- 
ing on  my  heels  every  step  I've  taken. 

RUSTY.    Oh,  I  couldn't  see  where  I  was  steppln'. 


THE   GHOST   BREAKER  59 

JARVIS.  (Looking  about)  That  goes  to  the  Ar- 
mory. 

RUSTY.  (L.C.  JARVIS  on  steps)  Ah  seen  eyes  in 
there,  and  a  cold,  grimy,  green,  slimy  smell  in  there. 
Ain't  that  where  that  broad- faced  bird  flew  at  me 
and  I  fell  down  them  slippery  stairs  ? 

JARVIS.  (Laughing)  That  broad-faced  bird  was 
an  owl,  Rusty — just  a  common,  ordinary  owl.  You 
know  what  an  owl  is. 

RUSTY.    O — ooh — ooh ! 

JARVIS.  (Sees  door  R.c.J  Where  can  that  door 
lead  to?  That's  it.  (JARVIS  goes  to  the  door  in 
R.C.  Steps  on  trap  and  falls  suddenly,)  Wow! 
That  was  a  close  one.  (Lantern  goes  out.) 

RUSTY.  (Advancing)  Lord,  Marse  Warren, 
what  is  it?  (Starts  up  to  JARVIS.) 

JARVIS.  Get  back !  Give  me  that  lantern.  ( RUSTY 
hands  lantern.)  Give  me  your  hand.  Can  you  hold 
me?  (RUSTY  holds  out  hand  and  JARVIS  cautiously 
steps  on  trap  door;  it  sinks  and  other  end  rises.) 
God !  I  thought  so.  Water  and  a  long  drop !  No 
wonder  people  disappear  in  this  castle.  Good  Lord, 
what  if  her  brother  went  down  there  ?  Rusty,  what- 
ever happens,  keep  clear  of  this.  If  you  step  on  this 
you  will  never  see  Kentucky  again  for  sure.  (Groan 
heard  off  left.) 

RUSTY.  Did  you  hear  that  groan?  (Wind 
changes  to  low  moan.) 

JARVIS.  Groan There  it  is  again.  It  sound- 
ed just  like  a  man. 

RUSTY.     Ough !    Ough ! 

JARVIS.    Shut  up!    (Crosses  to  L.c.J 

RUSTY.    Marse  Warren — look  out! 

TARVIS.  Listen !  (Crosses  and  stands  moment  at 
door.  Wind  moans.)  I  guess  it's  the  wind.  (He 
crosses  to  fireplace.)  This  place  is  getting  on  my 
nerves. 

RUSTY.     CR.C.J     That   wasn't  no  wind,   Marse 


60  THE   GHOST   BREAKER 

Warren.  Ah  hope  to  die  if  that  wasn't  a  sure 
enough  human  groan.  (He  looks  at  picture  L.) 
And  Ah  want  to  tell  you  som'pin'  else.  Have"  you 
ever  been  in  church  or  somewhere  and  all  of  a  sud- 
den a  feelin'  come  over  you  that  there  was  eyes  a- 
starin'  at  the  back  of  your  head?  You  just  knowed 
it — until  you  couldn't  stand  it  no  longer,  and  just 
turned  around  and  see  who  it  was  ? 

JARVIS.  Why,  yes,  Rusty,  I  have  had  that  hap- 
pen. Why  ? 

RUSTY.  That's  just  the  way  I  feel  now,  like  there 
was  eyes  a-lookin'  at  me.  (Turns  to  picture.)  You 
see  that  picture?  Seems  like  that  feller  was  lookin' 
at  me — like  he'd  step  right  out  of  the  frame.  (He 
points  to  armor  on  steps.)  Or  them  two  battleship 
boogies — just  jump  right  down  here. 

JARVIS.  It's  been  a  good  many  years  since  those 
boys  jumped,  Rusty.  (Noise  off  stage  of  running.) 
Hark  !  Listen !  (He  crosses  to  L.C.,  pistol  drawn; 
stands  listening.)  Somebody's  running — coming  this 
way (Dull  thud  at  back.) 

RUSTY.     I  want  to  go  home! 

JARVIS.     What  do  you  know  about  that? 

RUSTY.    I  don't  want  to  know  nothin'  about  it. 

JARVIS.    I  thought  so. 

RUSTY.     What  is  it? 

JARVIS.  The  man  with  a  smoky  lantern  has  been 
up  those  stairs. 

RUSTY.    You  ain't  goin'  up  there,  is  you  ? 

JARVIS.  I  am  not — because  the  Duke  or  some  of 
his  men  are  probably  waiting  for  me  at  the  top  of 
the  stairs  with  a  big  long  gun,  and  I'm  no  book  hero. 

RUSTY.     Suppose  it's  the  Prince  ? 

TARVIS.  Well,  suppose  it  is  the  Prince.  He  might 
blow  my  head  off,  because  he  doesn't  know  what  I 
came  here  for — and  if  it's  someone  else,  they'll  blow 
my  head  off,  because  they  do  know. 

RUSTY.    (Looks  at  ceiling  and  following  supposed 


THE   GHOST   BREAKER  61 

sounds  with  head  R.c.j  Sounds  like  somebody  was 
runnin'  round. 

JARVIS.  (c.)  They're  trying  to  scare  us,  Rusty. 
They're  probably  watching  every  move  we  make. 
That's  where  that  pounding  comes  from.  Why  don't 
they  shoot?  They're  trying  to  scare  us,  like  they 
did  the  poor  boobs  down  in  the  village.  (  RUSTY 
crosses  to  fireplace.)  They  want  to  get  us  out  of 
here.  They  want  to  get  us  out  of  this  room.  Rusty, 
someone  was  working  in  the  room.  Now,  where 
was  he  working?  Where  was  he 

RUSTY.  (Meanwhile  lias  crossed  to  mantel  and 
picked  up  hammer  and  chisel)  Look  here,  Marse 
Warren — look  y'ere !  (A  few  steps  from  fireplace.) 

JARVIS.    (Crossing  to  RUSTY)    What  is  it,  Rusty? 

RUSTY.  (Handing  them  to  JARVIS)  Look  at 
them. 

JARVIS.    Where  did  you  find  them,  Rusty? 

RUSTY.     (Pointing  to  mantel)     Up  there. 

JARVIS.  Good  boy,  Rusty!  Now  I'll  tell  you 
something.  These  are  his  tools.  Someone  was  work- 
ing in  this  room,  so  we've  beaten  him  to  it.  Now, 
where  was  he  working?  (Hands  on  floor.)  Mor- 
tar on  floor.  (Hands  on  mantd.)  Mortar  on  the 
mantel (Puts  down  tools,  looking  up  and  point- 
ing.) Look  at  that !  That's  where  he  was  working, 
Rusty,  and  we've  beat  him  to  it — we've  beat  him! 
(Long  pause.  Both  turn  simultaneously  and  look  at 
picture.  JARVIS  draws  revolver.  RUSTY  turns  to 
JARVIS  and  sees  that  he  looks  at  picture.) 

RUSTY.  (Scared  voice)  Did  you  feel  that,  too? 
(JARVIS  crosses  slowly  and  cautiously  to  picture; 
feels  all  around  picture  and  lights  a  match  to  ex- 
amine it;  passes  light  all  around  frame.) 

JARVIS.  (Backing  away)  By  God,  that's  weird! 

You  could  feel  that  just  as  plain (Backs  to 

steps  and  sits  on  balustrade,  over  which  figure  in  ar- 
mor is  standing.)  By  God,  that's  weird !  (In  awed 


62  THE   GHOST    BREAKER 

voice.  Figure  in  armor  raises  sword  slowly  directly 
behind  JARVIS.) 

RUSTY.  (Looking  at  picture)  It  sure  is,  Marse 

Warren,  it  sure  is (  RUSTY  turns  just  in  time 

to  see  sword  raised  above  JARVIS'  head;  screams) 
Look  out!  (Ducks  behind  table  in  turret  R.  Fight 
then  takes  place  between  figure  in  armor  and  JAR- 
VIS.  Figure  finally  gets  on  trap  R.C.  and  disappears 
out  of  sight.)  Where  is  he  ?  (From  behind  hiding- 
place.) 

JARVIS.  Water  and  a  long  drop.  There's  another 
of  the  Duke's  men  gone  to  hell. 

RUSTY.  I  knowed  them  battleship  boogies  was 
spooks. 

JARVIS.  (Picks  up  sword  man  in  armor  dropped; 
c.)  We'll  just  take  a  look  at  this  other  fellow.  (He 
goes  to  make  a  swipe  at  figure  on  other  side  of  stairs 
— sees  RUSTY.)  What's  the  matter?  Are  you 
scared  ? 

RUSTY.    You  can't  scare  me — I'm  scared  already. 

(JARVIS  makes  feint  at  figure.  No  response;  feints 
again,  as  though  to  strike,  meaning  to  draw  man 
out  if  he  is  in  armor;  no  response;  goes  up 
steps,  knocks  armor  over.) 

JARVIS.  I  guess  he's  harmless.  (Drops  sword  at 
foot  of  steps.) 

RUSTY.  A — ah !  (Running  up  steps  and  picking 
up  armor.)  I'll  just  fix  him  so  he  won't  jump  no 
more!  (Cross  to  trap.) 

JARVIS.     What  are  you  going  to  do? 

RUSTY.    I'm  going  to  sink  this  other  battleship! 

JARVIS.  Hold  on — wait  a  minute.  I  reckon  we 
can  use  that.  It  takes  a  thief  to  catch  a  thief,  they 
say.  We'll  just  outspook  Mr.  Ghost.  Now,  come 
on,  Rusty.  Get  into  this  hardware  as  fcst  as  you 
can. 


THE   GHOST   BREAKER  63 

RUSTY.  Marse  Warren,  I  don't  want  to  be  no 
spook ! 

JARVIS.  Listen!  Somebody  was  working  in  this 
room.  It's  a  cinch  that  the  treasure  is  here,  and  it's 
a  bigger  cinch  he'll  come  back  to  get  it  when  we've 
gone. 

RUSTY.     You  ain't  going  to  leave  me  here  alone? 

JARVIS.  Sure,  I'm  going  to  put  you  in  this,  so 
you  can  watch.  I'm  going  to  make  a  bluff  that  we're 
both  gone.  You'll  be  as  safe  as  a  church  in  this. 
No  one  would  ever  think  of  looking  for  one  of  us  in 
this  armor.  You  watch,  and  when  he  starts  to  work, 
then  yell  your  head  off. 

RUSTY.  I'll  yell  so  loud  they  will  hear  me  in  Ken- 
tucky. 

JARVIS.  You  give  your  best  yell,  and  then  I'll  nail 
him. 

RUSTY.  If  you  don't  nail  him — he'll  nail  me! 
(Business  JARVIS  putting  armor  on  RUSTY  Breast- 
plate, back  and  legs  are  put  on  together;  belt  fast- 
ened around  zvaist  first,  then  legs;  next  collar;  then 
arms;  last  helmet;  this  done  during  the  follotving 
dialogue.) 

RUSTY.  Marse  Warren,  you  must  think  a  heap 
of  Miss  Princess  to  go  prowling  around  in  this  boogy 
house  in  the  dark. 

JARVIS.     What  makes  you  think  that? 

RUSTY.  Marse  Warren,  I  knowed  you  since  you 
was  a  baby. 

JARVIS.     What's  that  got  to  do  with  it  ? 

RUSTY.  She  'gin  you  that  jewelry  that's  hanging 
round  your  neck,  didn't  she?  She's  kind  of  crazy 
about  you,  too,  ain't  she? 

JARVIS.     How  do  you  know  ? 

RUSTY.    Aw — I  know,  all  right. 

JARVIS.     But  how  do  you  know? 

RUSTY.     Waal,  I'm  goin'  to  tell  you,  and  then 


64  THE   GHOST   BREAKER 

you'll  know  how  I  know.  Just  before  them  horses 
all  jumped  on  me,  when  I  was  waitin'  for  you  in  the 
road,  I  heard  a  window  go  up,  slap,  and  there  was 
the  Princess  a-lookin'  at  the  moon,  just  like  a  pic- 
ture in  the  moonlight;  just  a-lookin'  at  the  moon, 
and  she  says — she  says 

JARVIS.     What  did  she  say? 

RUSTY.  Well,  no  lady  never  talks  that  way  at  the 
moon  unless  she's  in  love. 

JARVIS.     What  did  she  say? 

RUSTY.  She  says — looking  at  the  moon,  she  says, 
"The  world  has  begun  all  over  again  for  me."  And 
then  she  went  right  on  and  says,  "God  be  with  you, 
my  American !"  Tm  the  only  American  around  here 
'cept  you,  Marse  Warren. 

JARVIS.  You  heard  her  say  that?  God  bless  you 
for  that,  Rusty !  (With  helmet  in  hand.)  Here,  put 
your  head  into  this  Stetson. 

RUSTY.    Oh !    Oh ! 

JARVIS.     What's  the  matter  ? 

RUSTY.  Full  of  spider  webs.  (JARVIS  puts  hel- 
met on  again.) 

JARVIS.    Gloves — here.    How  do  you  feel? 

RUSTY.     All  in.     Do  I  look  like  a  spook  ? 

JARVIS.  You're  a  wonderful  sight!  (Pushing 
him  away.)  Now,  Rusty,  get  over  here.  Where  is 
your  sword  ?  (JARVIS  down  steps;  RUSTY  sneezes.) 
I  never  heard  of  a  ghost  sneezing  before. 

RUSTY.    Marse  Warren,  I'm  catching  cold. 

JARVIS.  (Up  steps  to  RUSTY)  Now,  Rusty,  keep 
your  ears  and  eyes  open.  Don't  move  a  muscle.  If 
any  one  comes,  yell  your  head  off,  but  don't  sneeze. 

RUSTY.    Marse  Warren,  I  want  to  go  home! 

JARVIS.     We  haven't  any  home,  Rusty. 

RUSTY.  Marse  Warren,  I  don't  ever  expect  to  get 
out  of  this  boogy  house  nohow.  (Call  is  heard  off 
stage  L.J 

JARVIS.    Well,  Rusty,  there  is  something.    (Faint 


THE   GHOST   BREAKER  65 

call  heard;  very  indistinct.)  What's  that?  I'd  al- 
most swear  tiiat  was  a  call  or  a  groan.  (Another 
call;  JARVIS  blozvs  out  lantern.)  There  it  is  again. 
(Light  is  thronm  on  door  as  by  someone  carrying 
lantern.  Pause.)  Hark !  Listen !  There's  a  light, 
Rusty.  It's  coming  this  way.  It's  coming,  Rusty! 
It's  coming  back.  Remember  the  high  sign.  Rusty, 
arid  don't  sneeze.  (JARVIS  hides  above  door  L.  En- 
ter DOLORES  and  the  PRINCESS  and  MAXIMO  carry- 
ing lantern  D.L.,  cautiously  coming  forward.)^ 

DOLORES.  No  one  here  either,  your  Highness. 
(Cross  stage  R.C.) 

PRINCESS,  (c.)  We  must  go  on,  Dolores.  We 
must  find  him  before  it's  too  late.  Oh,  I  never  will 
forgive  myself  for  sending  him  to  this  dreadful 
place! 

DOLORES.  (Cross  to  fire)  Look !  Here  is  a  fire. 
They've  been  in  this  room.  (MAXIMO  comes  across 
at  back  ivith  lighted  lantern  to  R.C.) 

PRINCESS.     Perhaps  they  have  already  been  killed. 

JARVIS.     Your  Highness!     (~L.C.) 

PRINCESS.  Mr.  Warren — Mr.  \Varren!  Thank 
God  you  are  still  alive ! 

JARVIS.  Your  Highness — it's  madness  for  you  to 
come  to  this  place.  How  did  you  get  here  ? 

PRINCESS.  (Crossing  toward  him)  Heaven  only 
knows.  We  have  been  wandering  through  this 
dreadful  place  for  hours,  calling  to  you — trying  to 
find  you  before  it  was  too  late. 

JARVIS.     Too  late?    What  do  you  mean? 

PRINCESS.     My  brother  is  safe,  thank  God! 

JARVIS.     Where  is  he? 

PRINCESS.    On  his  way  to  get  help  from  the  King. 

JARVIS.     Where  has  he  been? 

PRINCESS.  Right  here  in  this  castle,  a  prisoner — 
since  the  day  he  entered. 

JARVIS.     A  prisoner? 

PRINCESS.     Yes,  he  succeeded  in  making  his  es- 


66  THE   GHOST   BREAKER 

cape  tonignt,  and  has  gone  direct  to  the  King  for 
help. 

JARVIS.     How  did  you  learn  this  ? 

DOLORES,  (c.)  From  Robledo.  Your  bullet  went 
straight,  Senor.  He^is  dying.  He  confessed  to  the 
Holy  Father.  I  prOTnised  to  be  with  him  at  the  end. 
(Weeps.) 

JARVIS.     (Crosses  to  DOLORES,  c.)    The  end— 
(Realizing  DOLORES  cared  for  ROBLEDO.)     Then — 

you I  didn't  know.     I  might  have I'm 

sorry. 

DOLORES.  'Tis  better  so,  Senor.  My  Prince  still 
lives.  (JARVIS  steps  back  c.) 

PRINCESS.  (Cross  to  DOLORES)  Oh,  Dolores,  my 
poor  child !  Maximo,  take  her  back  to  the  inn  as 
quietly  as  possible.  (They  exit.)  Oh,  Mr.  War- 
ren, let  us  leave  this  dreadful  place ! 

JARVIS.  Not  I,  your  Highness.  You  go  with 
them,  and  wait  for  me  at  the  inn. 

PRINCESS.  You  cannot  persuade  me  again,  Mr. 
Warren.  I  will  remain. 

JARVIS.     Please. 

PRINCESS.     Return  with  us,  then. 

JARVIS.  Your  Highness,  I  promised  to  solve  the 
mystery  of  this  castle  and  to  find  the  treasure.  My 
task  is  an  easy  one  now. 

PRINCESS.     Then  I  will  share  it  with  you. 

JARVIS.  And  you  groped  your  way  through  this 
old  castle  to  find  me.  You  are  game. 

PRINCESS.    You  faced  death,  perhaps,  for  me. 

JARVIS.  You're  trembling — you're  frightened — 
you're  cold — your  hands  are  cold! 

PRINCESS.  Oh,  I'm  not (JARVIS  takes  PRIN- 
CESS to  fire;  she  sits.) 

JARVIS.  Come  over  here.  You  must  have  been 
scared  to  death  prowling  through  the  blackness. 

PRINCESS.  Every  nerve  of  my  body  is  on  edge 
with  the  happenings  of  this  dreadful  place! 


THE   GHOST   BREAKER  67 

JARVIS.  Oh,  don't  cry !  Go  on,  then — cry — cry — 
cry  some  more.  Just  forget  you  are  a  Princess  and 
cry,  that's  it.  That's  fine.  I'll  round  up  this  spook 
tonight  for  good,  and  then  the  vassal's  task  is  done. 
His  fate  is  in  your  hands,  Highness.  What's  to  be- 
come of  him?  (Love  scene.)  Don't  send  me  away. 
I've  loved  you  from  the  first,  and  I  shall  always  love 
you.  I'm  no  Prince  or  Duke.  I  know  I'm  just  a 
plain  American  citizen,  a  man — and  all  the  man  in 
me  cries  out  that  I  love  you !  Don't  send  me  away. 

PRINCESS.    You  must  go. 

JARVIS.    You're  going  to  send  me  away? 

PRINCESS.  Yes,  you  must  leave  Spain.  Your  life 
would  never  be  safe  here.  (DuKE  sneezes  from 
behind  picture.) 

PRINCESS.  What  was  that?  (She  goes  to  lower 
end  of  fireplace;  JARVIS  R.cJ 

JARVIS.    Oh,  see,  that — that's  Rusty. 

PRINCESS.     That  would  frighten  anyone. 

JARVIS.  I  figured  that  I  might  need  a  ghost  my- 
self, but  Rusty  disobeyed  orders.  Rusty,  I  told  you 
not  to  sneeze. 

RUSTY.  Dat  was  somebody  else,  Marse  Warren! 
I  didn't  sneeze ! 

PRINCESS;    Mr.  Warren. 

JARVIS.  Don't  move.  Your  Highness,  I've  got 
your  ghost  at  last.  (Pointing  gun  at  picture.) 
There  is  somebody  behind  that  picture!  Come  out, 
or  I'll  shoot  you  full  of  holes. 

DUKE.  (Lights  at  window  change  to  red.  DUKE 
coining  out)  Don't  shoot. 

JARVIS.  (c.)  Your  Excellency,  you're  a  long  way 
from  Madrid. 

DUKE.  Madrid You  fool,  you  have  fallen 

right  into  the  trap.  (Crosses  c.)  What  I  have  done 
has  been  for  your  sake,  Maria.  I  purposely  deceived 
him,  so  that  I  might  get  here  ahead  of  him  and 


68  THE   GHOST   BREAKER 

watch.  See,  there  are  his  tools.  (Crosses  R.)  And 
you  yourself  interrupted  him  at  his  work.  (Points 
over  mantel,) 

JARVIS.  That's  an  unlucky  gesture.  How  did  you 
know  the  treasure  was  there  ? 

DUKE.    That's  where  you  were  working. 

JARVIS.  You  forgot  I  have  never  seen  the  memo- 
randum. 

DUKE.    Until  you  stole  it.     Can't  you  see,  Maria  ? 

PRINCESS.    Yes,  one  of  you  two  stole  the  locket. 

JARVIS.  Which  one  of  us  two?  (Walking  over 
to  DUKE.)  You  can't  lie  yourself  out  of  this.  Twice 
tonight  you  tried  to  have  me  murdered.  Why  didn't 
you  have  the  nerve  to  come  out  in  the  open  ?  I  told 
you  all  ghosts  were  cowards — but  you  haven't  got 
the  courage  of  a  rabbit.  If  it  weren't  for  her,  I'd 
blow  your  damned  head  off,  and  send  you  down 
after  that  other  poor  devil !  You've  got  him  to  an- 
swer for,  sooner  or  later.  Now,  see  here — give  me 

that  locket No,  give  her  the  locket — or,  by  the 

living  God,  I'll  break  your Come  on ! 

PRINCESS.  (Light  outside  and  first  border  and 
foots  change  to  amber)  Carlos ! 

DUKE.  (Cross  to  c.  and  PRINCESS  ;  gives  locket) 
You  play  a  good  game,  Mr.  Warren.  Are  all  Amer- 
icans like  you? 

JARVIS.     They  all  play  the  game  in  Kentucky. 

DUKE.  (Cross  to  door  L.J  And  I  thought  all 
Americans  were  fools. 

JARVIS.     I  saw  that  from  the  first,  and  it  helped. 

DUKE.  Mr.  Warren,  take  her  advice,  and  return 
to  Kentucky.  (Exit  L.) 

TARVIS.     Say,  hold  on 

PRINCESS.  (Stopping  JARVIS  c.)  What  kind  of  a 
place  is  Kentucky? 

JARVIS.  God's  good  country,  lady.  Must  1  go 
back  alone? 


THE  GHOST   BREAKER  69 

PRINCESS.     You  must  go,  but  you  need  not  go 
alone. 

JARVIS.    You  mean ?    Say  it!    Say  it! 

PRINCESS.     I  love  you!     (They  embrace.) 

SLOW  CURTAIN 

(Second  Curtain)) 

(  RUSTY  conies  down  steps  and  off  L.) 


STAGE  MANAGER'S  PLOT 


ACT  I — 

Manhattan  Hotel  at  five  o'clock  in  the  morning. 
Stage  dimly  lighted  by  night  lamp  from  side  of 
bed.  Theresa  is  sleeping.  Modern,  up-to-date 
hotel  room.  Furniture  dark  and  a  general  at- 
mosphere of  the  best. 

ACT  II — 

Stateroom  on  S.S.  "Aquitania,"  with  doors  lead- 
ing off  to  bath  and  bedroom  of  the  suite.  White 
walls,  dark  plush  hangings  and  gold  furniture. 
Dark  carpet.  Atmosphere  of  a  liner  just  before 
leaving  dock. 

ACT  III — An  old  Spanish  tavern  on  the  outskirts  of 
Segura  with  a  suggestion  of  past  refinement, 
but  now  in  a  condition  of  decay.  Mandolin 
and  guitar  heard  in  wine  room  at  opening,  with 
singing. 

ACT  IV— 

An  old  Spanish  castle,  deserted,  crumbling,  cov- 
ered with  the  dust  of  ages.  Wind  effect,  etc., 
to  create  an  atmosphere  of  spookiness  at  rise. 

The  House  Detective  in  the  First  Act  doubles 
Pedro,  the  innkeeper,  in  the  Third  Act. 

Hotel  Porter  in  First  Act  doubles  Vardos  in  Third 
Act.  Also  can  do  the  fight  in  armor. 

Steward  in  Second  Act  doubles  Jose  in  Third  Act. 

Maximo  and  Caspar  are  unimportant  characters 
in  the  opening  of  the  Third  and  can  be  played  by 
extras. 

70 


THE   GHOST   BREAKER  71 

The  best  results  in  this  play  are  obtained  from  a 
fast,  snappy  tempo  throughout. 

CARPENTER'S  PLOT 

ACT  I — 

Interior  as  per  diagram. 

1  Horizon  drop. 
3  Backings. 

2  Doors,  down  left  and  right. 
Window  back  R.  and  L.  center. 

ACT  II — 

Ship's  Stateroom: 

3  Doors,  R.C.,  R.I  and  L.3. 
I  Horizon  ring. 

1  Backing. 
ACT  III— 

Interior  Spanish  Inn: 

Stairway  c.     Leading  into  upper  part  of  house. 

Door  to  L.  of  staircase. 

Door  R.I  leading  to  wine  room. 

Window  left  I. 

Door  left  I. 

3  Backings. 

Stairs,  platforms,  and  parallels. 
ACT  IV— 

Interior  Old  Spanish  Castle: 

Stone  masonry  in  rains. 

Heavy  stone  windows  with  bars. 

Fireplace  R.I. 

Stairway  c.  four  steps  with  heavy  balustrade 
leading  through  heavy  door  to  armory. 

Break-away  picture  immediately  L.  of  stairway. 

Door  R.I   L.2C. 

2  Backings. 

Trap  through  stage  C.R.  above  the  middle  line. 


ACT  I — 

i  Dressing  Table, 
i  Toilet  Set. 
I  Locket  in  case. 

1  Settee. 

2  Armchairs. 
i  Telephone. 

i  Canopy  over  bed. 
Curtains  and  window  shades. 

1  large  flat  trunk. 

2  Steamer  Rugs  with  strap  handles. 
2  Small  Trays  in  trunk. 

Scissors,  Knife,  and  Trunk  Truck. 
ACT  II— 

1  Gold  Settee. 

2  Gold  Armchairs. 
2  Gold  Side  chairs. 

I  Pedestal  with  silver  tray  and  pitcher, 
i  Long  Bench  with  cushions. 

1  Telephone. 

4  Small  Curtains. 

Newspapers,  Magazines. 

Knife. 

Steamer  Rugs. 

Hand  Baggage. 

Locket  and  Case. 

Boat  Whistle   (suggest  compressed  air  auto 

tank). 
ACT  III— 

2  Stools. 

2  Tables,  old  and  heavy  Spanish. 
I  Set  Bench  and  Arm. 

Lunch  Basket. 

Tray,  with  wine  bottle  and  two  glasses. 

Hand  Baggage. 


THE   GHOST   BREAKER  73 

Playing  Cards. 
2  Pistols. 

1  Long  Chain  Necklace,  with  gold  cross. 
ACT  IV— 

2  Suits  Armor. 

2  Swords. 

i  Break-away  Table. 

i  Break-away  Chair. 

i  Break-away  life-size  picture  of  Henry  V. 

I  Set  Fire-Dogs. 

Hammer  and  Chisel. 

Wind  effect. 

Stand  for  Armor. 

3  Lanterns. 

I  Revolver  and  Cartridges. 
Locket  and  Case. 
Fan  for  fire. 
Trap  through  stage. 

ELECTRICAL  PLOT 

ACT  I— 

Rise  dark,  two  blue  pan  lights  back  of  window, 
two  baby  spots  off  left;  one  focussed  on  bed 
and  the  other  on  door  down  R.I.  Red  fire-escape 
light  shows  door  R.  when  opened.  Night  lamp 
on  table  near  bed. 

ACT  II— 

Lights  full  up,  white  and  amber,  strip  light  off 
door  right.  Lights  straw  for  sun  effect  at  back. 

ACT  Ill-- 
Blue on  back  drop.     Stage  full  up,  amber  and 
white.     Strips  off  right  and  left.     Large  lamp 
on  newell  post  at  foot  of  stairs.     Stage  dark 
at  lamp  crash. 

ACT  IV— 

Stage    dark,    blue    baby    spot    for   moonlight, 


74  THE   GHOST   BREAKER 

through  window  right.  Blue  on  back  drop. 
Fire  glow,  half  up  with  lanterns  on  your  foots 
and  borders. 


Clarence 


Comedy  in  4  vt*  by  Booth  Tarkington.  5  males,  5  females.  2 
interiors.  Costumes,  modern.  Flays  2%  hours. 

One  of  the  "five  milMt/n",  ClarprK-e  served  where  he  WSMI  sent — 
thoiufh  it  w-.ii  ro  *tn-tj»«?r  t<vui  1'oxa.-..  As  an  entomologist  he 
found—on  this  sick-  oi  the  oocua — jio  fielrt  for  his  specialty,  so 
they  set  him  to  driving  :iv.ik»i. 

Now,  reauo-jd  to  civil  live  and  K«e!:~insr  a  job,  he  finds  a  posi- 
tion in  the  home  of  one  Wu«  eli«r,  :i  wealthy  man  with  a  family, 
And  bwiiusd  he'd  "been  in  the  i/.rmy"  he  becomes  guide,  philos- 
opher aad  friend  to  ihe  members  of  that  tlistmcted  family 
grou;».  Clarence's  p<,s:Lio-n  is  an  anomoloua  one.  He  mends  the 
plumbing,  tunea  the  piano,  types — off  stage — and  plays  the  saxo- 
phone. And  aronnd  him.  revolves  such  a  group  of  «haract*rs 
as  only  Booth  Tarkington  could  offer.  It  is  a  real  American 
comedy,  at  which  the  audience  ripples  with  appreciative  and 
delighted  laughter. 

Those  marvelous  young  people,  Cora  ar.rl  Bobby,  are  portrait 
sketches  warranted  to  appeal  to  everyone. 

Royalty,  JJ25.00.     Price,   75  cents. 

The  Charm  School 

Comedy  in  S  acts  by  Alice  Dner  Miller  and  Robert  Milton. 
6  males,  10  females.  (May  be  played  by  5  males  and  8  females). 
(Any  number  of  school  girls  may  be  used  in  the  ensembles). 
2  interiors.  Costumes,  modern.  Plays  2%  hours. 

A  young-  automobile  t-alosiran  jtist  out  of  his  'teens  inherits  a 
girl's  school  arid  insists  on  running  it  himself,  according:  to  his 
own  ideas,  chief  of  which  is  that  the  dominant  feature  in  the 
education  of  the  young  girl  of  today  sh^u'-d  be  CHARM. 

In  the  end  the  young  man  plves  up  the  school  and  promises 
to  \vait  until  the  youngest  of  his  pupils  reaches  a  marriagable 
age. 

"The  Charm  School"  has  the  freshness  of  youth,  the  Inspir- 
ation of  a  novel  idea,  the  charm  of  originality,  and  wholesome, 
amusing  entertainment.  We  strongly  recommend  it  for  high 
school  production. 

First  produced  in  New  York,  then  tonred  the  country.  Two 
companies  now  playing  it  in  England.  Royalty,  $25.09.  Price, 
75  cents. 


Farcical  comedy  in  3  acts.  By  Fred  Jackson.  7  males,  7 
females.  1  interior.  Modern  costumes.  Plays  2%  hoars.  This 
newest  and  funniest  farce  was  written  by  Fred  Jackson,  the 
well-known  story  writer,  and  is  backed  np  by  the  prestige  oC 
an  impressive  New  York  success  and  the  promise  of  unlimited 
fun  presented  in  the  most  attractive  form.  A  cleverer  farce 
han  not  been  seen  for  many  a  long  day.  "A  Foil  House"  is  a 
house  full  of,  laughs.  Royalty,  $25.  Price,  75  cents. 

SAMUEL  FRENCH,   25  West  45th  Street,  New  York  City 

New   and   Explicit   Descriptive    Catalogue   Dialled 

Free    on    Request 


SOUTHERN  REGIONAL  LIBRARY  FACILITY 

405  Hilgard  Avenue,  Los  Angeles,  CA  90024-1388 

Return  this  material  to  the  library 

from  which  it  was  borrowed. 


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SAMUEL  FRENCH,  25    tVest  45th  Street,  New  York  City 

New   and    Explicit   Descriptive    Catalogue    Mailed 

Free   on   Ke quest 


A     b  v 


To  the  Ladies 


Three  Live  Ghosts 

>     JlP'f  u     !»•»     "rr*..      -. 


" 


FRENCH'S 
Standard  Library  Edition 

Includes  PJay»  by 

Booth  Tarkington 
J.  Hartley  Manners 
James  Forbes 
James  Montgomery 
Wm.  C.  de  Mille 
Roi  Cooper  Megrue 
Edward  E.  Rose 
Israel  Zangwill 
Henry  Bernstein 
Harold  Brighouse 
Channing  Pollock 
Harry  Durant 
Winchell  Smith 
Margaret  Mayo 
Edward  PepL 
A.  E.  W.  Mason 
Charles  Klein 
Henry  Arthur  Jones 
A.  E.Thomas 
Fred.  Ballard 
Cyril  Harcourt 
Carlisle  Moore 
Ernest  Denny 
Laurence  Housman 
Harry  James  Smith 
Edgar  Selwyn 
Augustin  McHugh 
Robert  Housum 
Charles  Kenyon 
C.  M.  S.  McLellen 


Clyde  Fitch 

William  Gillette 

Augustus  Thomas 

George  Broadhurst 

Edward  E.  Kidder 

Percy  MacKaye 

Sir  Arthur  Cotian  OoyU 

Louis  N.  Parker 

R.  C.  Carton 

Alfred  Sutro 

Richard  Harding  Davis 

Sir  Arthur  W.  Pinero 

Anthony  Hope 

Oscar  Wilde 

Haddon  Chambers 

Jerome  K.  Jerome 

Cosino  Gordon  Lennox 

H.  V.  Esmond 

Mark  Swan 

Grace  L.  Furniss 

Marguerite  Merrington 

Hermann  Sudermann 

Rida  Johnson  Young 

Arthur  Law 

Rachel  Crothers 

Martha  Morton 

H.  A.  Du  Souchet 

W.  W.  Jacobs 

Madeleine  Lucette  Ryley 


French's  International  Copyrighted  Edition  contains 
plays,  comedies  and  farces  of  international  reputation; 
also  recent  professional  successes  by  famous  Ameri- 
can and  English  Authors. 

Send  a  four-cent  stamp  for  our  new  catalogue 
describing  thousands  of  plays.  * 

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Oldest  Play  Publisher  in  the  World 
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